Jane Eyre Flashcards
(87 cards)
1
Q
‘There was the silence of death about it’
‘The grim blackness of the stones told by what fate the Hall had fallen-by conflagration: but how kindled?’
A
Death is linked to ‘silence’, capturing the lifelessness of Thornfield. The memories of Jane and Rochester, both the negative and positive ones have been obscured - they have been destroyed. The ‘conflagration’ is a symbol of destruction, fire will renew the love of Jane and Rochester, removing the negative associations Jane has given to Thornfield. It serves as a punishment to Rochester for his sins due to its hell-like connotations. The subjectivity of ‘fate’ contrasts the objectiveness of the visible ‘conflagration’. Perhaps, ‘fate’ foreshadows her loss of self worth as she moves into the institution of marriage where she will be restricted by both law and society.
2
Q
[Mrs Reed] “there is something truly forbidden in a child taking up her elders in that manner. Be seated somewhere, and until you can speak pleasantly, remain silent.”
A
Refers to sense of isolation placed on Jane by elder generation, purely because she questions their action.
Must remain silent because she is a young woman.
3
Q
[Jane] “‘Wicked and cruel boy!’ I said. ‘You are like a murderer- you are like a slave driver- you are like the Roman Emperors!”
A
Hyperbole used, Jane’s inability to control her feelings demonstrates immaturity. Vocab reveals breadth of learning. Foreshadows future class-related conflicts.
4
Q
[Jane] ‘cold winter wind’ and ‘penetrating’ rain
A
Pathetic fallacy signifies cruelty and harsh mistreatment faced by Jane at Gateshead. ‘Penetrating’ emphasises trauma caused to her.
5
Q
[John Reed] ‘you ought to beg, and not to live here with gentlemen’s children like us’
A
Others Jane due to her social class. Reflects his mother’s beliefs. Use of ‘you’ illustrates the difference between them and Jane and John’s hatred for her.
6
Q
[Bessie to [Jane] “You are less than a servant, for you do nothing for your keep.”
A
Reminder that she is poor and lower class. Others her, she does not belong to either group at Lowood.
7
Q
[Jane] ‘white bed and overshadowed walls’
A
Contrast between white and overshadowed. Reflects good vs evil motif and Jane’s inner turmoil.
8
Q
[Jane @ Red Room] ‘red’, ‘deep red damask’, ‘crimson cloth’,
A
The colours and materials are both suffocating Jane. The heavy fabric produces a sense of claustrophobia.
9
Q
[Jane to Helen] ‘When we are struck at without a reason, we should strike back again very hard’ (compare to Helen to Jane)
A
Believes that people should defend themselves to ensure they are never mistreated again. Cannot mirror Helen’s passivity. Foil to Helen.
10
Q
[Helen to Jane] ‘Love your enemies; bless them that curse you’
A
Her and Jane reflect passion vs restraint. She uses religion to help rather than hinder others. Positive view.
11
Q
[Brocklehurst] ‘that girl’s hair must be cut off entirely’ yet his daughters have ‘elaborately curled’ hair and his wife has ‘a false front of French curls’
A
Brocklehurst symbol of Jane’s aversion to organised religion. Represents a poor form of Evangelical Christianity. Deprives students but spoils his daughters, social anxiety of social class mobility. An obstacle which Jane needs to overcome. Belief that some believed upper class were inherently moral. Hypocritical.
12
Q
[Brocklehurst] “starve their immortal souls”
A
Relates to Bildungsroman as Brocklehurst is an obstacle for Jane to overcome. Applies semantic field of exclusion. He torments Jane and others her by calling her names.
13
Q
[Brocklehurst] “not a member of the true flock, but evidently an interloper and an alien”
A
Deprives his students. Believes children born with original sin, therefore they must be cleansed if they want to reach salvation.
14
Q
[Brocklehurst] “avoid her…exclude her…shut her out”
A
The use of imperatives show stubbornness of Mr B.
15
Q
[Jane] “humbled by the consciousness of my physical inferiority”
A
Introduces the novel by othering herself. Emphasises her meekness and lowly status at the beginning.
16
Q
[Helen] “universal parent”
A
Parent shows that Helen believes that God is looking out for her. Her God is universal, he cares for everyone without taking classes into consideration. Helen is consoling Jane, she is at peace with dying.
17
Q
[Jane] “strange little figure” who is “half fairy, half imp”.
A
The self-image presented by Jane in the mirror is in fact her division of perception and identity. At this stage in the novel, Jane is only a child therefore the audience can expect some her to imagine fantasies and unrealistic imagery, yet the use of fairies and elves continues through the novel, for example later on Rochester calls Jane a fairy. This makes it clear that Bronte’s use of these supernatural beings are not simply to show Jane’s age, but relate it to the Gothic element of the book.
18
Q
[Jane] “I like Revelations”
A
Emphasises Jane’s rebellious nature and her independence from the beginning. Jane’s responses are unconventional
19
Q
[Jane] “Women are supposed to be very calm generally: but women feel just as men feel.”
A
Upper class and middle class women trapped within their homes. Saying Rochester is not better for hiding his feelings. She should not be perceived as weaker because she is a woman. Abnormal as women were not supposed to express themselves. Use of repetition.
20
Q
[Preface to novel] “Conventionality is not morality. Self-righteousness is not religion.”
A
Many see Jane as immoral because she goes against convention. Links to Red Room. Mr Brocklehurst was self-righteous and Bronte criticises his form of religion.
21
Q
[Helen Burns] “It is not violence that best overcomes hate - nor vengeance that most certainly heals injury”
A
Helen promotes forgiveness here.
22
Q
[Bessie] “The Miss Reeds could not play as well!”
A
Ironic that Reeds behave less upper-class than Jane as they have had more resources. Encouraging readers to judge people by example set rather than class born into. Provides validation of Jane’s accomplishments.
23
Q
John is ‘large and stout’, he ‘gorged’ himself
A
Gluttony is one of the seven deadly sins. His mother is ‘blind’ to his ways. Challenges views that men are superior.
24
Q
[Jane] ‘I believed I was content: to the eyes of others, usually even to my own, I appeared a disciplined and subdued character.’
A
Jane had learnt to control her passion through Miss Temple. ‘Appeared’ insinuates that Jane is not truly this way. ‘Disciplined and subdued’ reflect the behaviour expected by women at the time.
25
[Jane] "what a great nose! and what a mouth! and what large prominent teeth!"
Uses the popular Red Riding Hood to imply that Mr Brocklehurst is the big bad wolf, contrasting with the passion of Jane, his victim.
26
[Helen] "You think too much of the love of human beings"
Implies that Jane's true love should be with God. Her refusal to focus on the real world contrasts with Jane's attitude.
27
"I would not now have exchanged Lowood with all its privations, for Gateshead and its daily luxuries"
Miss Temple and Helen formed part of Jane's substitute family as she is an orphan. They allow her to tolerate the cruelties of Lowood. Jane is acknowledging that home is a place of acceptance and self-development. Surrogate family.
28
"Do you think I am an automaton with no feelings?"
When Jane believes that Rochester is going to marry Blanche Ingram. Shows Jane's passion for Rochester. Rhetorical question shows she feels she is an equal to Rochester as she isn't afraid to stand up to him.
29
"She bit me. She worried me like a tigress, when Rochester got the knife from her...She sucked the blood: she said she'd drain my heart."
Animalistic portrayal of Bertha links to social attitudes towards foriegners and female hysteria. The foreign animal 'tigress' evokes a sense of mystery and dread - foreign animal to British readers. The vampire-like depiction exhibits that Bertha is both human and inhumane. She has lost her humanity due to this repression resulting in her hysteria and madness. Element of the supernatural used to develop suspense.
30
"I have suffered a martyrdom from their incompetency and caprice."
"half of them detestable and the rest ridiculous, and all incubi."
Blanche criticises governesses in front of Jane, revealing her nature. Could reveal her jealousy towards Jane. The supercilious attitude and sneering Blanche does encourages readers to judge the upper classes in general - not inherently moral. Reader learns that governesses cannot marry social equals. Jane is excluded due to social hierachy.
31
Blanche Ingram
Anthithesis to Jane. Blache, meaning white in French, is ironic as it conveys that Blanche should be a good person but she does not act as a good example of the upper class. However, white is cold and blank, evident of Blanche's lack of personality.
32
"Blanche, an accomplished lady of rank."
Reminder that 'accomplished' signifies one's ability to attract a husband. Jane is concerned about her rival. Lady of rank because she does not need to be knowledgeable about certain issues, Blanche must only be pretty and accomplished enough for her husband. Accomplishments were coached to members of the upper class e.g. knowledge of music and foreign languages.
33
'beautiful Blanche'
Alliteration emphasises the difference between Jane and Blanche. Blanche's beauty is incomparable to Jane however her personality is no match. Questions if physiognomy is a good judge. Enforces the social hierachy.
34
"pantomime marriage"..."Bridewell."
"Pantomime" foreshadows other sham weddings and the bigamous wedding Jane will have - it predicts that Rochester will get exposed. Bridewell is a pun on the words (bride and well) and is a famous prison at the time, indicating that Rochester is imprisoned in a loveless marriage
35
"I saw he was going to marry her...her ranks and connections suited him...she could not charm him"
Jane can see Blanche and Rochester's incompatibility and Jane and Rochester's compatibility. The verb 'charm' evokes a supernatural tone, elevating their relationship to something preternatural due to the connotations with magic.
36
'Do you think I can stay to become nothing to you? Do you think I am an automaton?—a machine without feelings'
When Jane believes that Rochester is going to marry Blanche Ingram. Shows Jane's passion for Rochester. Rhetorical question shows she feels she is an equal to Rochester as she isn't afraid to stand up to him. Women were expected to be passionless.
Something roused in Jane 'like passion', in her actions Jane is defying social conventions.
Anaphora of 'Do you think' presents Jane as emboldened; she is utilising her voice to find answers - not acting in a submissive manner.
37
"I am no bird; and no net ensnares me; I am a free human being with an independent will"
Jane thinks of herself as an equal: a radical philosophy at the time. The 'bird' links to Bewick's History of British Birds - shows Jane's development. Emphasises the bittersweetness of freedom as a female in a society that aims to trap women into marriages.
38
"my equal is here, and my likeness, Jane"
Has listened to Jane and understands her needs
39
"For the second time in my life, only the second time, I became insensible from terror"
The memory of the Red Room is still prevalent to Jane despite all the time that has passed. Even in Thornfield, Jane still remembers the insensibility to 'terror' she faced in the Red Room.
40
"too young and too feeble to walk"
The child in Jane's dreams could symbolise Jane's fears about not being able to create an independent role for herself within marriage. Jane is imprisoned by Mr Rochester's passion without restraint.
41
Jane and Bertha
|t could be argued that there are parallels between Jane, the angry child imprisoned in the red-room and Bertha, the angry woman. Jane sees Bertha's face in its 'reflection'. Bronte may be symbolising that Bertha is an extension of Jane and representative of a microcosm of female repression. Bertha symbolises what Jane could have been.
42
"Your bride stands between us"
Ironic: Jane is targeting Blanche yet Bertha is a barrier between them. Jane is unaware of this.
43
"dark face, stern features and heavy brow"
Depicts Rochester as a Byronic hero, he is flawed, moody and rebellious.
44
'tongues of flame'
Foreshadows Bertha's passions which can flare up at any moment - she is uncontrollable. The personified imagery symbolises Rochester's uncontrollable past passions.
45
The sky "is burning with the light of red jewel and furnace flame at one point."
This imagery suggests that their beautiful and passionate love is as natural as the elements. However, red also symbolises anger and could foreshadow divine disapproval of their unison.
46
Bertha is labelled a "Vampyre"
The older Jane narrating the story deliberately withholds the truth about Bertha from us, choosing instead to exploit traditional gender stereotypes. By reporting Jane and Rochester's 'vampyre' conversation, she therefore develops suspense. Although Bertha is human, she is linked to the most gothic of creatures. The secret and supernatural imagery develop suspense within the novel, exemplifying the Gothic convention of the supernatural. Jane refers to Bertha as 'foul', connoting to disgust.
47
Jane to Rochester about Bertha: "a discoloured face-it was a savage face"
Bertha is half Creole. Jane describes her as a women of mixed race and turns her into a creature of supernatural horror, taking the fear and mistrust of foreigners to an extreme. The adjective 'discoloured' connotes that there is something wrong with her face - it does not match the societal norms. Victorian prejudice against foreigners is extremely prevalent here.
48
"the veil, torn from top to bottom in two halves!"
The wedding veil 'in two parts' foreshadows the separation of Jane and Mr Rochester. Creates a sense of impending doom. Some critics argue that when Bertha puts Jane's veil on her head and turns to the 'mirror', Jane sees Bertha's face in its 'reflection'. Perhaps, Bronte is suggesting that Bertha is an extension of Jane and may symbolise what Jane might have become if she had not learnt to control her passions. Additionally, Bertha may have torn Jane's wedding veil in half in order to symbolise her rebellion against the institution of marriage.
49
"I dreamt another dream, sir: that Thornfield Hall was a dreary ruin. the retreat of bats and owls."
Jane's dream foreshadowed the fire. It is representative of her future with Rochester. The 'bats' create a sense of terror. Jane's prophecies are a Gothic convention.
50
"the great horse-chestnut at the bottom of the orchard had been struck by lightning in the night, and half of it split away"
The chestnut tree is initially personified as "writhing and groaning" which suggests God's disapproval of the proposed bigamous marriage and foreshadows the tragedy to come. "Half of it split away" later in the tree which signifies Jane's departure. The tree symbolises Jane and Rochester's love- proclaimed under the chestnut tree and split apart by Bertha (lightning). Nonetheless, the tree despite its brokenness remains alive. It has 'strong roots' so this obstacle can be overcome, like Jane and Rochester's love.
51
(Rochester introduces Bertha to everyone): "Compare these clear eyes with the red balls yonder-this face with that mask-this form with that bulk"
By comparing the women, Mr Rochester is appealing for everyone's sympathy. His comparison of the two women encourages the reader to empathise with Mr Rochester; this also encourages the reader to consider and perhaps criticise the laws of divorce. Bertha with the "red balls" is depicted in an animalistic manner. Jane is automatically described as more human, perhaps displaying Victorian attitudes towards foreigners.
52
"it snatched and growled like some strange wild animal"
Bertha has been stripped of her identity but has also been stripped of her humanity. Bronte might be implying that women who do not conform to expected behavioural standards lose their identities and become monsters. The use of animal imagery and the adjective 'wild' suggests a loss of self-control.
53
Mr Rochester is in a 'fury' and seems to 'devour' Jane with his 'flaming glance'
Jane employs cold, hard imagery when thinking about her own state of mind: she 'must be ice and rock to him'. This contrasts greatly with Mr Rochester's own passion that he struggles to control. He seems to 'devour' Jane with his 'flaming glance'. It is almost as if he is transformed into a devil trying to lead Jane into temptation. Jane's 'ice and rock' restraint has developed over time.
54
"porridge"
Porridge symbolises the lowest level of deprivation, humiliation and hopelessness possible. At Lowood, the pupils are served 'burnt porridge' which is described as so inedible that 'famine itself soon sickens over it'. When Jane becomes a beggar, she eats a 'stiffened mould' of porridge that is destined for a pig. She is grateful ad devours it 'ravenously', contrasting with her rejection of the burnt porridge as a child. This emphasises the depths to which she has been reduced. Porridge is a symbol of the lower class.
55
(Jane) "I will respect myself. I will keep the law given by God."
Jane therefore places the laws of God over her desires. She now needs time to heal and to re-establish her identity. Jane understands that her moral integrity is more important than her passion for Mr Rochester. Jane is rejecting love.
56
'Diana offered to teach me German. I liked to learn of her.'
Diana is a role model, just like Miss Temple and Helen Burns, and we realise once again that Jane finds solace in education and educated women.
57
St. John
According to the New Testament, (St) John the Baptist was the person who baptised Jesus in the River Jordan. Baptism is a symbol of being purified or cleansed. Jane's interactions with St John, judging by his name, will ultimately become a better person and Jane will be cleared of her sin.
A foil to Rochester, St John's coldness contrasts the passionate fire imagery associated with Rochester.
Also acts as a foil to John Reed. The similarity of name heightens the difference between the two. St John's self-restraint and desire to dedicate his life to God contrasts with the drunken, dissolute, debt-ridden John, who commits suicide.
58
Mary
Mary is the mother of Jesus. She is often used as an emblem of purity. She immaculately conceived Jesus through the Holy Spirit. Since Early Christianity, she has been one of the most worshipped. Mary is also an Egyptian name which means 'beloved'.
59
Diana
Diana was a Roman goddess, often depicted as a hunter. She is often associated with the moon and chastity. She was one of the three maiden goddesses who swore never to marry. Diana rules over domestic animals.
60
St John to Jane: 'I love Rosamond Oliver so wildly', adding 'she would not make me a good wife'
The adverb 'wildly' indicates a desire to lose himself in his passion, yet by describing himself as a 'cold hard man', he suppresses his love for Rosamond. St John says that Rosamond means 'Rose of the World' therefore through this comparison, she represents nature. He wishes to reject earthly love and passion, embodied in Rosamond, in favour of a divine connection. While Rochester allows his passions to rule his behaviour, we see his foil in St John who exercises restraint even if it leads to his own 'suffering and sacrifice'.
61
'I am cold, no fervour infects me'
St John is literally coldness personified. He has completely suppressed his passion for earthly love. The contrast between St John and Jane is evident when she replies that she is 'hot, and fire dissolves ice', emphasising their lack of compatibility. Jane's future rejection of him is foreshadowed as the only 'fire' that will dissolve him is the fire of his religious zeal.
62
"a Greek face", "Athenian mouth and chin", "straight classic nose", "eyes were large and blue"
Famous Greek statues were believed to be classically beautiful, symmetrical faces equated to beauty. St John is conventionally beautiful which Jane is not. His face is described at length and contrasted with the 'irregularity' of Jane's characteristics. Even their physical attributes are incompatible as when compared to St John, Jane will always seem inferior. Jane and Rochester are both unconventionally attractive. Rochester's features are light and beautiful while Rochester's are dark and heavy; their lineaments are reflective of their personalities and the contrast between St John's passion and Rochester's restraint.
63
he "had not yet found the peace of God which passeth all understanding"
According to the Bible, the peace of God, "which transcends all understanding," is the harmony and calmness of body, mind, and spirit that supersedes earthly circumstance. Jane uses a language which St John is familiar in order to portray him as conflicted. As a preacher, he delivers messages about the importance of finding peace in the Lord rather than within the world. However, his internal conflict is evidenced in his situation with Rosamond. His anxiety and worry conflicts the idea that Christians should trust the path that God is taking them to. Instead of finding solace in his uncertainty, he still is doubtful.
64
Jane to St. John: 'no more of a husband's heart for me than that frowning giant of a rock'
The 'frowning giant of a rock' imagery suggests the immensity of his dispassionate, hard heart. Like a rock, he is immovable, implying that he will never love Jane. Perhaps, the verb 'frowning' exercises Jane's fears of the judgement that may occur within a marriage with St John, displaying the social anxiety of female repression. This would not be a marriage of two spiritual equals. The alliterative phrase 'husband's heart' with the soft-h sound suggests a desire for tenderness and passion instead of a love of duty and order.
65
"I claim you - not for my pleasure, but for my Sovereign's service"
The noun 'Sovereign' meaning a supreme ruler evidences that St John's proposal is an attempt at pleasing God. St John is rejecting the temptation of a true, passion-filled love in favour of a loveless marriage with Jane. He is using religion to appeal to Jane. The imperative 'I claim you' highlights that within this marriage, Jane will be subordinate unlike an 'equal' which she was with Rochester. St John has the active voice.
66
"God and nature intended you for a missionary's wife"
St John takes away Jane's voice - he tells Jane that she should accept this proposal, not because she wants to but because higher forces such as nature and God have 'intended' her to. St John is taking advantage of his position in the Church in order to seem as if he is a messenger and God has communicated his desires for Jane to him. St John is attempting to trap Jane into a marriage through his emotionally manipulative tactics. He does not love Jane but feels that she would make a good missionary's wife. St John's surname 'Rivers' is significant as rivers in literature symbolise metaphorical or physical Jane. His proposal of marriage progressed Jane's spiritual journey, allowing her to learn that she needs mutual love to be happy.
67
'I scorn your idea of love'...'I scorn the counterfeit sentiment you offer, yes, St John, and I scorn you when you offer it.'
The verb 'scorn' meaning open disrespect for someone or something is particularly significant as it hints that Jane cannot admire St John's beliefs. The reader is made implicitly aware that Jane does not agree with the idea of a loveless marriage where she would be forced to suppress her emotions. The harsh phrase 'I scorn you' highlights her incapability to comprehend the situation. Their relationship would be 'counterfeit' as neither of them would be emotionally invested in their relationship - they are both in love with other people.
68
'always restrained, and always checked-forced to keep the fire of my nature continually low'
As a friend, Jane would retain her independence. But as his wife, she would be completely under his control. Being 'always restrained and always checked' suggests that Jane would be a prisoner. There is no suggestion that the marriage would be between spiritual equals. Her passion and 'fire' would be diminished by the coldness of St John. Perhaps, Bronte is highlighting that the institution of marriage stole women's identities as it took away their freedom, and thus left them with no personality.
69
'I never had a home, I never had brothers or sisters; I must and will have them now'
The repetition of 'I never' coupled with the auxiliary verbs 'must' and 'will' serve to emphasise Jane's delight that she is related to like-minded people and has been welcomed into a family. The reader is reminded of what was absent from her relationship with the Reed cousins. Jane defies tradition of keeping her inheritance to herself when she shares it with her cousins. Jane, who 'never had a home', prioritises family and rejects 'society' in favour of her family. To Jane, a loving family is more important than money.
70
'it spoke in pain and woe, wildly, eerily, urgently'
Jane has a preternatural connection to Rochester. She hears his voice after her proposal. This suggests divine intervention: God intends them to be reunited. Bronte was the daughter of a clergyman and, by confirming this shared psychic experience, she may feel she is providing evidence of God's existence.
71
'She was standing, waving her arms...we heard him call Bertha...the next minute she lay smashed on the pavement.'
Bertha is playing with fire due to her close proximity with it and ended up dead. Bertha's death is not difficult for the reader to process as Bronte builds a negative impression of Bertha. Arguably, Bertha being crazy was self-fulfilled prophecy as she was isolated from civilisation.
72
'He is now helpless, indeed-blind and a cripple'
Rochester has lost his status in this society. He is physically disabled in a society where able-bodied people are granted greater respect. Thornfield burns down therefore there is no obstacle between the couple. They are now fully equal partners. It evokes sympathy as he is now a victim of circumstance rather than of self-inflicted wounds. Jane is in a position to help Rochester and almost dominate him rather than being subservient.
73
"The caged eagle, whose gold-ringed eyes cruelty has extinguished, might look as looked that sightless Samson."
Bronte clearly enjoys the use of birds as Jane longs for their freedom at the beginning of the book whilst reading "Bewick's History of British Birds". Eagles commonly represent power and strength therefore the phrase "caged eagle" contain two juxtaposing ideas. Rochester's masculine power and dominance has been weakened by being "caged" by his disabilities. The "gold-ringed" eyes of Rochester highlights a feeling of preciousness which has been taken. The choice of Samson is significant as Samson was a Nazirite judge in the Bible who ignored the rules of his Nazarite vows. He fell in love which caused Samson to lose his strength. Some say that that Samson's eyes were gouged out as punishment for having followed the desires of his eyes. Therefore, the sibilant phrase "sightless Samson" presents love as an evil, highlighting that Jane is aware of the dangers of returning to Rochester.
74
'Reader, I married him'
The use of the active verb "I married him" emphasises that it was Jane's choice. She chose to marry him and this is evident with the utilisation of direct address. Jane asserts herself as the driving force of her narrative. They have established a relationship based on mutual dependence.
75
"absolutely bone of his bone and flesh of his flesh...we are precisely suited in character-perfect concord is the result"
Bronte links the couple to Adam and Eve through the nouns "bone" and "flesh". Eve was made from Adam's rib. Thus, Jane and Rochester are spiritually connected. The intensity of this relationship contrasts the loveless nature of marriages within a Victorian society.
Bronte is perhaps overemphasising the perfect nature of the relationship, this may reveal Jane's desire to overcompensate. Jane is an unreliable narrator therefore the reader is uncertain about the truthful nature of John and Rochester. Jane needs Rochester to be co-dependent so that she can be the "apple of his eye". Rochester's blindness removes Jane's feelings of inadequacy as he cannot see her. The long sentence lengths are used to depict the intense nature of their relationship, there is an unhealthy element to the relationship.
76
"he again, with a full heart, acknowledged that God had tempered judgement with mercy."
God has shown forgiveness to him. He gains his sight back to show him earning back his redemption. It fits into the idea that the fire was his version of hell.
77
"never did I weary of reading to him....never did I weary..."
Anaphora reflects how Bronte has constructed a narrative arc where Jane has become a dutiful wife; the antithesis to the fiery, tenacious Jane the reader was introduced to. Jane has taken to this role and is arguably who society says she should be. She is no longer rejecting all of societal conventions.
78
Red Room significance
The red-room can be viewed as a symbol of what Jane must overcome in her struggles to find freedom, happiness, and a sense of belonging. In the red-room, Jane's position of exile and imprisonment first becomes clear. Although Jane is eventually freed from the room, she continues to be socially ostracised, financially trapped, and excluded from love; her sense of independence and her freedom of self-expression are constantly threatened. The red-room's importance as a symbol continues throughout the novel. It reappears as a memory whenever Jane makes a connection between her current situation and that first feeling of being ridiculed.
79
Mr Rochester: "You are my little friend, are you not?"
| Jane: "I like to serve you, sir, and to obey you in all that is right."
Jane is presented as almost subservient to Rochester. The adjective 'little' may be used in a patronising way. Interestingly, Jane reminds him of his place, often addressing him as 'sir', so she makes a conscious effort to maintain class boundaries. She also reminds him of her place with the verbs 'serve' and 'obey', revealing her belief that, due to their class differences, there can be no hope of marriage between them. Jane denies even the possibility of a friendship, she sees their class differences as a barrier.
80
Bertha Mason
Bertha Mason is a complex presence in Jane Eyre. She impedes Jane's happiness, but she also catalyses the growth of Jane's self-understanding. The mystery surrounding Bertha establishes suspense and terror to the plot and the atmosphere. Further, Bertha serves as a remnant and reminder of Rochester's youthful libertinism. Yet Bertha can also be interpreted as a symbol. Some critics have read her as a statement about the way Britain feared and psychologically "locked away" the other cultures it encountered at the height of its imperialism. Others have seen her as a symbolic representation of the "trapped" Victorian wife, who is expected never to travel or work outside the house and becomes ever more frenzied as she finds no outlet for her frustration and anxiety. Within the story, then, Bertha's insanity could serve as a warning to Jane of what complete surrender to Rochester could bring about. One could also see Bertha as a manifestation of Jane's subconscious feelings—specifically, of her rage against oppressive social and gender norms. Jane declares her love for Rochester, but she also secretly fears marriage to him and feels the need to rage against the imprisonment it could become for her. Jane never manifests this fear or anger, but Bertha does. Thus Bertha tears up the bridal veil, and it is Bertha's existence that indeed stops the wedding from going forth. And, when Thornfield comes to represent a state of servitude and submission for Jane, Bertha burns it to the ground. Throughout the novel, Jane describes her inner spirit as fiery, her inner landscape as a "ridge of lighted heath" (Chapter 4). Bertha seems to be the outward manifestation of Jane's interior fire. Bertha expresses the feelings that Jane must keep in check.
81
Mr. Brocklehurst
Mr. Brocklehurst illustrates the dangers and hypocrisies that Charlotte Brontë perceived in the nineteenth-century Evangelical movement. Mr. Brocklehurst adopts the rhetoric of Evangelicalism when he claims to be purging his students of pride, but his method of subjecting them to various privations and humiliations, like when he orders that the naturally curly hair of one of Jane's classmates be cut so as to lie straight, is entirely un-Christian. Of course, Brocklehurst's proscriptions are difficult to follow, and his hypocritical support of his own luxuriously wealthy family at the expense of the Lowood students shows Brontë's wariness of the Evangelical movement.
82
St John Rivers
St. John Rivers provides another model of Christian behavior. His is a Christianity of ambition, glory, and extreme self-importance. St. John urges Jane to sacrifice her emotional deeds for the fulfillment of her moral duty, offering her a way of life that would require her to be disloyal to her own self.
83
gender inequality
Jane struggles continually to achieve equality and to overcome oppression. In addition to class hierarchy, she must fight against patriarchal domination—against those who believe women to be inferior to men and try to treat them as such. Three central male figures threaten her desire for equality and dignity: Mr. Brocklehurst, Edward Rochester, and St. John Rivers. All three are misogynistic on some level. Each tries to keep Jane in a submissive position, where she is unable to express her own thoughts and feelings. In her quest for independence and self-knowledge, Jane must escape Brocklehurst, reject St. John, and come to Rochester only after ensuring that they may marry as equals
84
External beauty versus internal beauty
Throughout the novel, Brontë plays with the dichotomy between external beauty and internal beauty. Both Bertha Mason and Blanche Ingram are described as stunningly beautiful, but, in each case, the external beauty obscures an internal ugliness. Bertha's beauty and sensuality blinded Mr. Rochester to her hereditary madness, and it was only after their marriage that he gradually recognized her true nature. Blanche's beauty hides her haughtiness and pride, as well as her desire to marry Mr. Rochester only for his money. Yet, in Blanche's case, Mr. Rochester seems to have learned not to judge by appearances, and he eventually rejects her, despite her beauty. Only Jane, who lacks the external beauty of typical Victorian heroines, has the inner beauty that appeals to Mr. Rochester
85
Thornfield has trap doors "like a corridor in some of Bluebeard's castle".
The illusion Bronte gives of the French fairy-tale provides a foreshadow of what Jane is to find behind the door later in the novel, whilst also using pre-gothic plot to deepen her novel, giving it a more intense gothic feel. Like Bluebeard who has one of wives dead body behind a secret door, the reader later becomes aware that behind one of the doors in Thornfield Hall, is Rochester's mad wife Bertha.
86
Bertha's laugh: "the laugh was tragic, as preternatural a laugh as any I ever heard"
Even before Bertha is found, Jane is aware of the possibility of a supernatural being in the house, This foreshadows a more complex and disturbing explanation to come in the future, when Jane finally meets Bertha.
87
[Jane in Red Room] "I thought the swift-darting beam was a herald of some coming vision from another world. My heart beat thick—my head grew hot; a sound filled my ears, which I deemed the rushing wings; something seemed near me; I was oppressed, suffocated; endurance, broke down; I rushed to the door and shook the lock in desperate effort."
Jane senses her uncle's spirit. This description gives the novel a lack of realism and a feeling of the supernatural, contributing to the Gothic genre/
