Jane Eyre Chapters 19-21
Okay, so remember that for this set of chapters you need to do two posts.
- One post should identify a passage and discuss that passage in detail. No repeating passages! Don't forget to use the language of literary analysis.
- One post should expand on someone else's passage post, adding to, enriching, or challenging his/her ideas.
Don't forget that you have to learn your poem! You can view videos of good past performances here.
Have a nice weekend!
posted by Ms. Clapp @ 10:49 AM
47 comments
47 Comments:
"I must keep to my post, however. I must watch this ghastly countenance--these blue, still lips forbidden to unclose--these eyes now shut, now opening, now wandering through the room, now fixing on me, and ever glazed with the dullness of horror. I must dip my hand again and again in the basin of blood and water, and wipe away the trickling gore. I must see the light of the unsnuffed candle wane on my employment; the shadows darken on the wrought, antique tapestry round me, and grow black under than hangings of the vast old bed, and quiver strangely over the doors of a great cabinet opposite--whose front, divided into twelve panels, bore, in grim design, the heads of the twelve apostles, each enclosed in its separate panel as in a frame; while above them at the top rose an ebon crucifix and a dying Christ." (224)
In this passage Bronte goes into great detail Jane's feelings as she is left on her own to her "post" in aiding Mr. Mason. I chose this passage because of the distinct feeling of fear that Bronte chose to emphasize, particularly that of paranoia.
The most pronounced stylistic device Bronte uses is a repetition of the phrase "I must..." over and over again, suggesting that Jane is struggling to bottle her fear and keep command of her body, and the gradual shift in sentence complexity. The passage first begins with "I must..." and short, commanding sentences, until the middle to the end of the passage where the sentences are long and complex, suggesting that Jane's thoughts wander from her commands and into her dark surroundings. In this way Bronte tries to highlight this sense of paranoia Jane felt.
Also important is the level of detail Jane describes what she sees, for example the "ghastly countenance" and how she remembers the way his eyes glance around "ever glazed with the dullness of horror." She picks out its every movement and its tell-tale shock after being mauled.
As her thoughts wane from her rationale and to her bewitched surroundings, she describes how the candlelight dims and how the shadows "grow" and "quiver." The shadows around her are personified, thus making them seem more harmless and malignant--countless times I've stayed up and the house is quiet save what I imagine are ghosts behind me walking with silent and deliberate footsteps towards my exposed back. Bronte elicits this paranoia through recalling such phantoms.
Lastly, Bronte evokes an image of crawling shadows on a cabinet of Jesus Christ and the twelve apostles. Through the sheer eeriness of the image she paints one is left uneasy with the lasting portrait of a "dying Christ."
“You are cold; you are sick; and you are silly.” (209)
“The flame flickers in the eye; the eye shines like dew; it looks soft and full of feeling; it smiles at my jargon: it is susceptible; impression follows impression through its clear sphere; where it ceases to smile, it is sad; an unconscious lassitude weighs on the lid: that signifies melancholy resulting from loneliness. It turns from me; it will not suffer further scrutiny; it seems to deny, by a mocking glance, the truth of the discoveries I have already made, — to disown the charge both of sensibility and chagrin: its pride and reserve only confirm me in my opinion. The eye is favourable.
“As to the mouth, it delights at times in laughter; it is disposed to impart all that the brain conceives; though I daresay it would be silent on much the heart experiences. Mobile and flexible, it was never intended to be compressed in the eternal silence of solitude: it is a mouth which should speak much and smile often, and have human affection for its interlocutor. That feature too is propitious.
“I see no enemy to a fortunate issue but in the brow; and that brow professes to say, — ‘I can live alone, if self-respect, and circumstances require me so to do. I need not sell my soul to buy bliss…. ‘Reason sits firm and holds the reins, and she will not let the feelings burst away and hurry her to wild chasms. The passions may rage furiously, like true heathens, as they are; and the desires may imagine all sorts of vain things: but judgment shall still have the last word in every argument, and the casting vote in every decision. Strong wind, earthquake-shock, and fire may pass by: but I shall follow the guiding of that still small voice which interprets the dictates of conscience.’ (214)
In this passage, the reintroduction of sibyl, the gypsy continues Bronte’s design of Gothic and Romantic elements. Jane is caught in a “web of mystification” by the gypsy who unlocks Jane’s innermost and personal thoughts. The gypsy’s insight that Jane is “cold because she is alone, sick because joy is far from her and silly because she neither calls nor inches toward joy,” is then followed by the personification of Jane’s body, giving them human like qualities, such as speech. With a Gothic tone, Bronte reestablishes what the reader already knows about Jane but hints that happiness is secure and in front of her but the character is unaware/fears seizing it, thus creating dramatic irony.
By anatomy, the gypsy affirms the loneliness Jane has felt in present and past. Jane’s eyes are sad, weariness “weighs on the lid: that signifies melancholy resulting from loneliness” and like Jane, turn away in pride, confirming truth. However, this loneliness does not always penetrate Jane; Jane is capable of amusement, “the mouth delights at times in laughter” but would fall silent at what “the heart experiences,” an emptiness Jane is all too familiar with but it was not meant to be cast into solitude. The gypsy continues with the brow and forehead, which are characterized as “reason”. Jane reasons that ‘I can live alone, if self-respect, and circumstances require me so to do,' and control her actions. The passions that may “rage furiously” in Jane are extinguished by reason, thus casting Jane to a realm of solitude.
Bronte’s juxtaposes the ideas of love and reason, which result in conflict. “Reason sits firm and holds the reigns” and forbids emotions from bursting. However, the highest and sweetest delights are possible routes of escape from loneliness. This juxtaposition establishes that reason and love exist at odds with one another, constricting one’s pursuits in life.
"According as the shifting obsecurity and flickering gleam hovered here or glanced there, it was now the bearded physician , Luke, that bent his brow; now St. John's long hair that waved; and anon the devilish face of Judas, that grew out of the panel, and seemed gathering life and threatening a revelation of the archtraitor-of Satan himself -in his subordinate's form.
Amidst all this, I had to listen as well as watch: to listen for the movements of the wild beast or fiend in yonder side-den. But since Mr. Rochester's visit it seemed spellbound: all the night I heard but three sounds at three long intervals-a sharp creak, momentary renewal of the snarling,canine noise, and deep human groan."(224-225)
I found this passage most interesting because of the connoations of hell, statin, and like "canine noise". I think that Bronte had this in the novel because it really shows how Jane is willing to accept anything to pleasse Mr.Rochester even while not understanding what exactly she is doing. I like that it makes refrence about Satan because it shows the darker side to the situation. I was absolutly shocked that Grace Poole could have done this to Mr. Mason, later reading on.
Even through everything Jane is completley "spellbound" by Mr. Rochester. Something she has never felt before, and even through this night she senses is devilish and full of evil she seeks comfort in the fact that Mr. Rochester is near by and will soon be with her.
The tone in this passage seems very morbid because of all the connotations of "beasts" and "devilish" words. I feel that through this passage it really shows the darker side to things at Thornfeild. Because she feels so safe there and comforted, unlike the feelings she felt towards Gateshead and Lowood. I feel like this showed Jane that things there were not as safe as she might have thought. This all became much clearer I feel after this has happened to Mr. Mason. I also wonder why Mr. Rochester has not sent Grace Poole away, knowing that she tried to murder him and now Mr. Mason as well. I wonder why Bronte has left Grace Poole this lingering character around, when she inflicts such danger upon all of them. So therefore the words of morbid tone help show Jane Eyre that she has more to feel about Thornfeild than just comfort or even nothing if she feels it.
"Oh,lean on me sir."
"Jane, you offered me your shoulder once before; let me have it now." "Yes, sir, yes;and my arm." He sat down and made me sit beside him. Holding my hand in both his own, he chafed it; gazing on me, at the same time, with the most troubled and dreary look. "My little friend!" said he, "I wish I were in a quiet island with only you; and trouble, and danger, and hideous recollections removed from me." "Can I help you, sir?- I'd give my life to serve you." "Jane, if aid is wanted, I'll seek it at your hands; I promise you that." ( pg 217)
Ok So in this passage MR.Rochester and Jane relationship really takes a different shift. It is more intimate then it looks. I dont know why Mr.Rochester is so worried about Mr.Mason, but through his "Blow" all he thinks is about is Jane. How wishes him and Jane were in another island alone. I know alot of servant are loyal to their masters, but this is more deeper. When Jane says that she'd give him her life to "serve him" she means so much more than that. She tries to convince herself that Mr.Rochester would never marry a girl like him and that marriage is totally out of the question, but she can't help herself. Like she always tells herself, she can't help but love him. At this moment their telling each other how they care about each other without saying it, just wordings it differently.
"I had once vowed that I would never call her aunt again: I thought it no sin to forget and break that vow now. My fingers had fastened on her hand, which lay outside the sheet: had she pressed mine kindly, I should at that moment have experienced true pleasure. But unimpressionable natures are not so soon softened, nor are natural antipathies so readily eradicated. Mrs. Reed took her hand awayy, and, turning her face rather from me, she remarked that the night was warm. Again she regarded me so icily, I felt at once that her opinion of me - her feelings towards me - was unchanged and unchangeable. I knew by her stony eye- opaque to tenderness, indissoluble to tears - that she was resolved to consider me bad to the last; because to believe me good would give her no generous pleasure: only a sense of mortification.
I felt pain, and then I felt ire; ans then I felt a determination to subdue her - to be her mistress in spite both of her nature and her will. My tears had risen, just as in childhood: I ordered them back to their source. " (247)
In this passage, Jane has a troubling encounter with her past. She is back in the presence of Aunt Reed, who she never wanted to call "Aunt" again because she wanted to leave her past. The audience was seeing a sense of maturity that Jane earned after escaping the "bitterness and hate" (246) that he felt towards her and finds herself wanting to "forget and forgive all injuries."(246) Even though she feels "pain" and "ire" from Mrs. Reed's past behanvior, she feels it necessary to "be her mistress in spite both of her nature and her will." Jane forces her tears back when she sees the woman that constantly hurt her in the past, and decides to help her which shows the change in Jane.
"I bethought myself to go upstairs and see how the dying woman sped, who lay there almost unheeded: the very servants paid her but a remittent attention: the hired nurse, being little looked after, would slip out of the room whenever she could. Bessie was faithful; but she had her own family to mind, and could only come occasionally to the hall. I found the sick-room unwatched, as I had expected: no nurse was there; the patient lay still and seemingly lethargic: he livid face sunk in the pillows: the fire was dying in the grate. I renewed the fuel, rearranged the bedclothes, gazed awhile on her who could not now gaze on me, and then I moved away to the window.
The rain beat strongly against the panes, the wind blew tempestuously: 'One lies there,' I thought, 'who will soon be beyond the war of earthly elements. Whiter will that spirit-now struggling to quit its material tenement-flit when at length released?'
In pondering the great mystery, I thought of Helen Burns, recalled her dying word-her faith-her doctrine of the equality of disembodied souls. I was still listening in thought to her well-remembered tones-still picturing her pale and spiritual aspect, her wasted and sublime gaze, as she lay on her placid death-bed, and whispered her longing to be restored to her divine Father's bosom-when a feeble voice murmured from the couch behind, 'Who is that?'" (254)
This passage goes into Jane's thoughts about death as she goes and visits her sickly Aunt Reed. Bronte uses this passage to expose her own opinion on the "typical" old-fashioned females of the time.
Bronte casts a pitiful light on Mrs. Reed. Her daughters are not willing to stay by her side while she is dying, and the people meant to take care and watch over her do otherwise. This just reminds me of how Bronte allowed Jane to remain alive over the submissive Helen. She seems to be saying about Mrs. Reed's sickly state, that no one wants this generation of obedience and humbleness.
Bronte's syntax is a long run-on statement, comprised of short statements. Her syntax seems to represent that this submissive generation is being stretched out. The symbol, fire is brought up again. Just as Mrs. Reed would try to kill Jane's fire, her passion, Jane rekindles it as Mrs. Reed, the source of oppression, is dying away. The rain symbolizes the "war of earthly elements", the fight between life and death.
Then Bronte goes on to reminisce about Helen Burns as Jane enters Mrs. Reed's room. Bronte's weak diction, using words such as, "pale" "wasted" "placid" "feeble", exemplifies the faults of this submissive generation. She depicts Helen and Mrs. Reeds as weak as to show that this is why they cannot stay around any longer.
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He strayed down a walk edged with box, with apple-trees, pear-trees, and cherry-trees on one side, and a border on the other full of all sorts of old-fashioned flowers, stocks, sweet-williams, primroses, pansies, mingled with southernwood, sweet-briar, and various fragrant herbs. They were fresh now as a succession of April showers and gleams, followed by a lovely spring morning, could them: the sun was just entering the dappled east, and his light illumined the wreathed and dewy orchard-trees and shone down the quiet walks under them.
“Jane, will you have a flower?”
He gathered a half-blown rose, the first on the bush, and offered it to me. (230)
This passage to me represented the choice that Mr. Rochester has to make: he can either pick the side with the apple, pear, and cherry tress, or the side filled with flowers.
By juxtaposing the two sides of the road, it in turn represents the decision that Mr. Rochester has to make. He can either choose the side with the fruit trees, which represent Jane, or he can pick the side with the beautiful flowers, which represent Ms. Blanche. Whereas the trees, while plain, are useful by providing fruit, on the other side of the spectrum are all the flowers, where although they are very beautiful, at the same time they eventually die, and have absolutely no use at all.
Not only that, but after the events that took place, he offers Jane a half-blown rose, which to me symbolizes the fact that in the end, he’ll pick Jane. The half-blown rose is known to symbolize timid love, and by having Mr. Rochester present it to Jane, shows what his intentions are, and hopes that his timid love is returned.
To Steph's comment, while I did think it represented the change in Jane, I didn't think it was necessarily complete forgiveness. To me, I saw Jane finally taking power in a sense.
With Helen’s message clear in her mind, to ”love your enemies; bless them that curse you; do good to them that hate you and despitefully use you.” (58) I saw it as Jane maturing a bit; whereas her old self would simply spite and curse at Ms. Reed since she’s now dying a death that the old Jane may have said she deserved. Jane wanted to forgive Ms. Reed, but at the same time Ms. Reed hadn’t changed in the sense that she was just as cold and mean to Jane as she was before, even if she may have not wanted to be.
While the passage does show Jane’s growth and change, I think it opposes it with Ms. Reed’s unchangeable behavior, and how in the end it might have been her downfall.
I'd like to comment on Jazzabell Darling's post about Mrs. Reed and Helen burn being to weak to be alive. I think that's not true. In Helen's case i felt that she was too strong and holy for the world. Like someone said in class she was the ideal image of the an obedient women for that time. Unlike Mrs. Reed whom she was weak but weak because she was stubborn and cruel, unlike Helen Burns who had a warm heart and I felt like her goodness was too much for the world. I agree with Jazzebelle when she talks about talks about the syntax of the passage being very short and almost like a statement being spoken. I also agree with the statement spoken about Mrs. Reed wanting to wash out that fire and passion that Jane has in her but because Mrs. Reed is dying that passion burning inside Jane will never leave. I think that because Mrs. Reeds daughter were so unwilling to stay with their own mother as she died, the mother whom cherished her daughters and spoiled them, and the one person who was treated so badly by her, Jane, stayed with her until she died, when Jane owed Mrs. Reed nothing but hate. I think this showed a lot of Jane's character and how she really has a strong character that we will be seeing more of in the story.
sorry i wrote your name wrong Jezebelle. =)
"Then my own thoughts worried me. What crime was this,that lived incarnate in this sequstered mansion, and could neither be expelled nor subdued by the owner?--what mystery that broke out, now in fire and now in blood, at the deadest hours of the night? What creature was it, that, maksed in an ordinary women's face and shape, uttered the voice, now of a mocking demon, and anon of a carrion-seeking bird of prey?
And this man I bent over--this commonplace, quiet stranger--how had he become involved in the web of horror?"(225)
The tone of this passage is worried. Jane can still not understand why Grace Poole is allowed to go on in her antics and not be punished for them.
The passage has somewhay of a relgious register. She refers to Grace's voice of that of a "mocking demon"(225). This reference to the demon or a "bird of prey"(225) shows that the Grace's nature is absurd and so opposite of the strict religon of this time. Grace's nature is that of someone possesed by the devil. Having Grace in the house is a danger to all of its residents, however I believe that Grace is a flaw in Rochester's life and he may have signed his soul to the devil and that is why Grace is allowed to behave the way she does without repercussions.
This is why Jane has so many questions. By putting most of this passage in questions Bronte shows that Mr. Rochester clearly truts Jane. He knows that she will question herself, but she will let him come to her with the answers.
"He strayed down a walk edged with box, with apple trees, pear trees,
and cherry trees on one side, and a border on the other full of all
sorts of old-fashioned flowers, stocks, sweet-williams, primroses,
pansies, mingled with southernwood, sweet-briar, and various
fragrant herbs. They were fresh now as a succession of April
showers and gleams, followed by a lovely spring morning, could make
them: the sun was just entering the dappled east, and his light
illumined the wreathed and dewy orchard trees and shone down the
quiet walks under them.
'Jane, will you have a flower?'
He gathered a half-blown rose, the first on the bush, and offered it
to me"(230-31)
Jane Eyre and Fairfax Rochester stand outside the Thornfield estate after the bloody scene where Richard Mason had been mysteriously attacked and nearly faced his death. Jane has proved to be reliable to Rochester seeing as every time he takes a fall, it is Jane he falls back on. After the cold and dark event, Bronte portrays a warm, bright image that promises hope to a positive future for Jane.
Bronte fills the scene with vegetation, freshly fallen water, and a sunrise symbolizing life and new life or a new beginning for Rochester and Jane. Outside the mansion there are “apple trees, pear trees, and cherry trees”… and “all sorts of old-fashioned flowers…” only contrasting the cold, marble floored mansion on the inside. More importantly, the colorful plants arise after Jane has helped aid Manson and Rochester, emphasizing the fact that her actions lead to a bright future. On top of that, Bronte has made a point to include the fact that “April showers” had made the herbs, flowers, and trees “fresh” adding to the moment of new hope because of the symbol of new beginning. After the incident with Mason and the incident where Rochester was a Gypsy, Jane’s and Rochester’s relationship has been cleansed and like spring, will develop. Furthermore, Bronte includes a sunrise, the epitome of new beginning seeing as it is the sun that rises every morning representing a new start to a new day. The author creates the “lovely spring morning” to mark the beginning of a new relationship between Rochester and Jane.
Following the passage of spring, Rochester offers Jane a flower. Many times before does the reader see Jane providing for Rochester, always giving to Rochester, but for the first time does Rochester give to Jane, especially in terms of romance. He does not give Jane a mere flower, he offers her a rose a literal symbol for affection, and his feelings towards Jane. However, roses have thorns possibly meaning that there will be trouble in the new start to their relationship.
Since Jane first met master Rochester, there had always been tension between them mainly because they had feelings for each other, which was apparent upon the arrival of Blanche Ingram. Rochester’s trust with Jane was represented by the fact that he requested her help during a controversial moment when a man was attacked within the credible master’s mansion. Jane came to his aid and following shares a moment surrounded by spring before a sunrise. Bronte’s depiction of spring and the gift of a rose succeeding violence is a representation of a positive new future for Jane with Rochester.
To briefly comment on Jezebelle Darling's post, I'd like to focus on a specific part of the passage:
"The rain beat strongly against the panes, the wind blew tempestuously: 'One lies there,' I thought, 'who will soon be beyond the war of earthly elements. Whither will that spirit--now struggling to quit its material tenement--flit when at length released?'"
Jane wonders about Miss Reed when she ponders about the "one [who] lies there," and brings Miss Reed's life under an evaluative perspective: she asks, when she says "whither will that spirit... flit when at length released?", if Miss Reed's life was worth it and whether if that life was good or not in the end, finally, after all of the superficial and ephemeral things have faded away.
Almost in answer, she turns her thoughts to Helen Burns, and the two are juxtaposed; on one hand is the wrathful, vengeful mistress of Jane's bitterness and on the other is the peaceful but submissive Christ-figure who provides the antidote to Jane's bitter feelings towards Miss Reed. In bringing up Helen's doctrine of "equality of disembodied souls," Jane wonders whether if Miss Reed shall rest in peace or whether she shall "flit" in agitation for her immorality. Angela equated that they both stand as figures of a bygone age of submission from the female race, but I don't think that's exactly the case because Miss Reed and Helen Burns are too different of characters to suffer the same fate. While Helen persevered and endured in humbleness, Miss Reed reveled in spoiling her desire to be a mother to a select few, and spoiling especially John Reed. While Helen died in comfort of Jane's companionship, Miss Reed shall die in the middle of the night alone and unloved. And while they both wasted away, I don't think that's enough to reconcile their differences.
Rather, I think the passage about Helen Burns and her doctrine of "equality of disembodied souls" is meant to be interpreted as introducing the question "Is living like Miss Reed worth it in the end? In her final moments shall she rest in peace or shall she die with many regrets and pains haunting her?"
To Malisa's passage, I completely agree. I think one of the important parts of the passage that corresponds the flowers and the fruit trees to Jane and Blanche is the word, "old-fashioned", in the sentence, "a border on the other full of all sorts of old-fashioned flowers". Blanche was the epitome of a perfect woman at the time, being beautiful, titled, etc. I also thought it was interesting that a "half-blown" rose means timid love. At first I mistaken that giving Jane a flower would show that he chooses Miss Ingram at first, but it will die away. However, now I can see that it represents his feelings for her.
To comment on Ashs' passage. I do believe that in this passage Jane and Mr. Rochester do break certain boundary lines. Seeing as she is a servant and he is her master. I also think that this passage sets up the reason why Jane is the only person to helpe Mr. Mason (aside from the dr.). He trusts Jane he sees something different in her. Jane cant help but love him, but i think that Mr. Rochester is just as guility as she is. This is confirmed when Mr. Rochester says this to Jane, "Jane, if aid is wanted, I'll seek it at your hands; I promise you that." By using the word aid, Bronte shows that Mr. Rochester is willing to have Jane take care of him. And that he would trust no one else. By promising something it becomes more sacred and important to a person. And Jane is important and sacred to Mr. Rochester.
To expand on Ashley’s idea, rather than thinking of this passage as a “different shift,” I see this passage as another shift in the possible intimate relationship that may occur between these two. Because here again, Jane has the choice of either acting or ignoring her feelings for Mr. Rochester. Previous to this scene, Mr. Rochester, disguised as the gypsy has confessed his love for Jane and hints for Jane to act on the feelings he knows she has for him. But going further on Mr. Rochester’s words, “I wish I were in a quiet island with only you,” I believe that Bronte adds this line to illustrate the similarities that Jane and Mr. Rochester both have. In a sense, Jane and Mr. Rochester are on their own separate islands of solitude. Jane’s island consists of feelings of not belonging, while Mr. Rochester’s island consists of thoughts of his past. Because these two individuals are alone, they are forced to rely on themselves, causing further pain and anguish. However, if these two islands were to become whole, Jane and Mr. Rochester could provide the necessary love and dependence they both yearn for. Jane’s line, “I’d give my life to serve you,” confirms the idea that she is willing to be a crutch for Mr. Rochester in order to receive the love she yearns for.
"Soon I had traced on the paper a broad and prominent forehead...that contour gave me please; my fingers proceeded actively to fill it with features. Strongly-marked horizontal eyebrows must be traced under that brow; then followed...a well-defined nose, with a straight ridge and full nostrils; then a flexible-looking mouth, by now means narrow; then a firm chin, with a decided cleft down the middle of it: of course, some black whiskers were wanted, and some jetty hair, tufted on the temples, and waved above the forehead. Now for the eyes: I had left them last, because they required the most careful working. I dream them large; I shaped them well, the eyelashes i traced long and sombre; the irids lustrous and large...I wrought the shades blacker, that the lights might flash more brilliantly--a happy touch or two secured success....I looked at it; I smiled at the speaking likeness: I was absorbed and content....it was, in fact, a very faithful representation of Mr. Rochester...the other drawings pleased [Georgiana] much, but she called that 'an ugly man.'" (250)
Bronte describes Jane's portrait of Mr. Rochester with imagery conveying Jane's devotion and admiration of her employer. The descriptions of the drawing portray how Jane is well aware of Mr. Rochester's strengths and flaws, and loves him still.
Stating that the act of drawing gave Jane "pleasure and that she drew "actively" emphasizes how Jane enjoyed drawing Mr. Rochester's face, eager to see his face even though they are hundred of miles apart. His mouth, which is to her "as no means narrow" is not the most handsome she is seen, but one that she has grown attached to and fond of in her employment.
Jane took extra care on drawing Rochester's eyes, which Bronte describes as "lustrous and large" from Jane's point of view. She specifically attempts to make the eyes "flash", trying to make the painting as life-like as possible. In putting so much effort into making her portrait as identical to Rochester as possible, Jane is using it to express her desires to love him.
This is the reason why when presenting the information that Georgiana regarded him as ugly, Bronte doesn't include Jane's emotions on this; for Jane doesn't care what others think of her work. The shift from an abundance of Jane's emotion being present in Bronte's tone to the lack there of represents Jane's fondness for Rochester.
In regard to Kevin's post, when I read that passage i was struck by the use of the word "gore" in replacing "blood." The word gore holds a more scary and disgusting connotation than blood, for the latter can be used pretty dryly in medical register and everyday use, while gore is usually reserved for an extreme amount of blood or human flesh. This highlights Jane's state of heightened fear and paranoia, making washing the bleeding man seem more intensified than the situation really is.
"You are cold, because you are alone: no contact strikes the fire from you that is in you. You are sick, because the best of feelings, the highest and the sweetest given to man, keeps far away from you. You are silly, because, suffer as you may, you will not beckon it to approach, nor will you stir one step to meet it where it waits for you" (209).
In this passage all the truths about Jane, her isolation and unwillingness to give in to "the best of feelings", comes out through the gypsy. The fact that the gypsy is in fact Mr. Rochester demonstrates that while Jane was observing Rochester, he too was observing her. However, the interesting point in the passage, to me, is when he tells Jane, "You are cold, because you are alone: no contact strikes the fire from you that is in you". There has been discussion of fire/heat in the book thus far and it is interesting that Rochester (in gypsy form) calls her cold because she is isolated from others though she does have a fire within her. Fire appears to represent Jane throughout the story as she contains a "fiery disposition", and it appears as though Bronte utilizes the "cold" to represent the lonliness and isolation that Jane experiences.
To Rorschach,
I found the gypsy scene probably one of the most interesting in the book especially when finding out that the gypsy was actually Rochester. Knowing that the gypsy is Rochester, "she" loses her power compared to when I first read the section. What I get out of this passage, looking back on it, is Rochester appreciating Jane as he gets specific to her physical qualities. Eyes, mouth, brow, I feel like he is appreciating Jane's face more than analyzing her facial characteristics to make a prediction. Also, knowing that the gypsy is Rochester the reader gets to see how Jane is seen in his perspective. Also, when he emphasizes that she is alone and feels sad from being lonely I think Rochester is trying to get Jane to reflect on that idea and see how she would be happy if she was with Rochester or something along those lines. However, Rochester at the end admits that it was all a trick so can the reader really take this moment seriously? Especially when he takes pride in the fact that he tricked everyone. Great analysis, you saw things that I didn't my first read through.
To Average Joe's comment,
I saw a contrast of the weather of this part in the book, to the whole beginning. The whole beginning of the novel, the weather is dark and gloomy which is symbolism for how Jane is feeling. The sunrise in this scene shows a change in how Jane is feeling, and as Joe said "a new life or new beginning." I also agreed with how Joe saw the rain showers as what went wrong in the past, but the sun coming up is seen as a start of a new relationship for Jane and Mr. Rochester.
I also saw the rose as a start of something new but didn't think about the thorns on the rose being something bad about to happen in the future but it is always something to look out for. But seeing the rose as Mr. Rochester providing for Jane when she is the only who is always providing for him shows that Mr. Rochester is proving to Jane that they can be equals after many times of him promising that to her.
Hi. My passage is taken from page 218…
“Mr. Rochester’s extreme pallor had disappeared, and he looked once more firm and stern. He took the glass from my hand.
‘Here is to your health, ministrant spirit!’ he said. He swallowed the contents and returned it to me. ‘What are they doing, Jane?’
‘Laughing and talking, sir.’
‘They don’t look grave and mysterious, as if they had heard something strange?’
‘Not at all: they are full of jests and gaiety.’
‘And Mason?’
‘He was laughing too.’
‘If all those people came in a body and spat at me, what would you do, Jane?’
‘Turn them out of the room, sir, if I could.’
He half smiled. ‘But if I were to go to them, and they only looked at me coldly, and whispered sneeringly amongst each other, and then dropped off and left me one by one, what then? Would you go with them?’
‘I rather think not, sir: I should have more pleasure in staying with you.’
‘To comfort me?’
‘Yes, sir, to comfort you, as well as I could.’
‘And if they laid you under a ban for adhering to me?’
‘I probably should know nothing about their ban; and if I did, I should care nothing about it.’
‘Then you could dare censure for my sake?’
‘I could dare it for the sake of any friend who deserved my adherence; as you, I am sure, do.’
‘Go back now into the room; step quietly up to Mason, and whisper in his ear that Mr. Rochester is come and wishes to see him: show him in here, and then leave me.’
‘Yes, sir.’”
In this passage, Jane has just discovered that Mr. Rochester has been pretending to be the gypsy this whole time. Mr. Rochester seems to be curious about Jane’s dedication to him…he is continually questioning and testing her.
What I find interesting about this is the “correct” and “expected” response with the “yes sir, no sir” behavior. “Sir” is repeated numerous times in Jane’s responses, which goes on to show her work behavior and attitude towards her employer...it's all professional in her way of talk.
Another example of the obedience and respect that Jane has for Mr. Rochester is shown through the restating of Mr. Rochester’s question in Jane’s responses…Mr. Rochester says “‘To comfort me?’” and Jane says “‘Yes, sir, to comfort you...’” Mr. Rochester then goes on to say “‘Then you could dare censure for my sake?’” and Jane says “‘I could dare it for the sake of any friend ...’”
“should” and “could” are also used many times in Jane’s responses, which sends out this, again, sense of respect and obedience towards Mr. Rochester. It makes Jane seem peaceful and not demanding or forceful.
What really made this passage stand out to me was the relationship that it revealed to exist between Mr. Rochester and Jane, which is one of loyalty and dedication.
To comment on Average Joe about when Mr.Rochester gives Jane a rose. I completely agree how it symbolizes more than just a rose, but affection he has for her.I also wanted to add that it also can symbolize the beauty in Jane that Mr.Rochester sees.
This passage reminds of Remains of the Day when Ms.Kenton gives Mr.Stevens flowers or the other way around. I cant remember, but the the flowers symbolize so much more than what they are.
I also wanted to comment how he gives her a flower, but then brings up the subject of Miss Ingram of marrying her. I think Mr.Rochester brings it up to see what Jane's reaction is going to be. He knows that she has feelings for him, but being the preculiar man he is, he wants to see what her reaction will be. Even though Jane is jealous, she keeps her composure of this and doesnt let him know.
“Eliza still spoke little: she had evidently no time to talk. I never saw a busier person than she seemed to be; yet it was difficult to say what she did: or rather, to discover any result of her diligence. She had an alarm to call her up early… Three times a day she studied a little book, which I found, on inspection, was a Common Prayer Book. I asked her once what was the great attraction of that volume, and she said, "the Rubric." Three hours she gave to stitching, with gold thread, the border of a square crimson cloth, almost large enough for a carpet... Two hours she devoted to her diary; two to working by herself in the kitchen-garden; and one to the regulation of her accounts. She seemed to want no company; no conversation. I believe she was happy in her way: this routine sufficed for her; and nothing annoyed her so much as the occurrence of any incident which forced her to vary its clockwork regularity…
Georgiana, when not unburdening her heart to me, spent most of her time in lying on the sofa, fretting about the dullness of the house, and wishing over and over again that her aunt Gibson would send her an invitation up to town. "It would be so much better," she said, "if she could only get out of the way for a month or two, till all was over." … I suppose she referred to the expected decease of her mother and the gloomy sequel of funeral rites. Eliza generally took no more notice of her sister's indolence and complaints than if no such murmuring, lounging object had been before her” (251-252).
In the last chapter of our reading assignment, 21, I noticed another interesting contrast between Eliza and Georgiana. Firstly, Eliza seemed to have gone through a total “religious rebirth” as she now is pretty religious. Bronte characterizes Eliza’s life through the rigidity of schedules and structure, shown through Jane’s account of her planned out day (x hours for this, y hours for that). Eliza barely cared for her mother, remaining a mere 5 minutes a day before she died. She’s become a bitter woman and Bronte, once again, offers a negative image of Christianity. Eliza is characterized by the cold, icy personality, lacking the passion Jane has. Jane thinks that Eliza has “judgment untempered by feeling” which “is too bitter and husky a morsel for human deglutition” (253-254).
Georgiana, on the other hand, seems to have too much feeling without any judgment. She, too, gives little care to her brother or mother. Georgiana is characterized by her always wanting to go out to the parties, the social life. Her mind is full of thinking about her past experiences and the parties to come.
Both women present an extreme that Jane isn’t looking for. She’s looking for a balance between passion and judgment, between the hot and cold.
Taylor,
I was thinking the other day about the function of Jane's drawings in the novel. As we all know, this isnt' the first mention of Jane drawing something really well. Mr. Rochester once asked to see her drawings and was very impressed with them. Also, when Jane was drawing him (in this passage) her cousins come behind her and notice that she does draw well and they accept a portrait. Mentioned once in the novel, it may not have much meaning. But twice, definitely.
Her noticeably good artwork shows that although she is only a governess, she is talented and that elevates her status a bit. It also sets her apart from everyone else- she is the only one who has a creative outlet as "amusement" (249). She makes herself content by creating something out of nothing: "I smiled at the speaking likeness: I was absorbed and content" (250).
I would like to comment on Courtney’s blog…
From this passage, I feel as though Mr. Rochester is acting as some sort of psychiatrist or something…as though he is trying to read Jane as a person, instead of tell her about her future.
I thought you brought up a great point, Courtney, on the whole Jane observing Mr. Rochester, while he was observing her. Mr. Rochester definitely finds Jane interesting, and he definitely puts the time and thought into analyzing everything about her.
I feel that with the fire/heat topic, Mr. Rochester was trying to point out that Jane has this untouched personality or attitude that does not show itself because there is no one for her to show it to…there is no one that can be a real friend to Jane…there is no one for her to be herself around. Jane has constantly been defending herself during most of her life so far, she never gets many chances to just talk about her opinons on books, situations, etc.
I also noticed the whole style being very “matter of fact”…Mr. Rochester (as the gypsy) exudes this confidence as he continually repeats “You are…because…” at the start of every sentence. Although he is acting as a gypsy, his true ideas are revealed, since in this passage he is telling her about who she is now (what he sees and understands so far), not about what her future holds.
"Why did I never hear of this?" I asked.
"Because I disliked you too fixedly and thoroughly ever to lend a hand in lifting you to prosperity. I could not forget your conduct to me, Jane -- the fury in which you once turned on me; the tone which you declared you abhorred me the worst of anybody in the word; the unchildlike look and voice with which you affirmed that the very thought of me made you sick, and asserted that I had treated you with miserable cruelty. I could not forget my own sensations when you thus started up and poured out the venom of your mind: I felt fear as if an animal that had struck or pushed had looked up at me with human eyes and cursed me in a man's voice -- Bring me some water! oh, make haste!"
"Dear Mrs. Reed," said I, as I offered her the draught she required, "Think nomore of all this, let it pass away from your mind. Forgive me for my passionate language; I was a child then; eight, nine years have passed since that day."
She heeded nothing of what I said; but when she had tasted the water and dawn breath, she went on thus --
"I tell you I could not forget it; and I took my revenge: for you to be adopted by your uncle, and placed in a state of ease and comfort, was what I could not endure. I wrote to him; I said I was sorry for his dissappointment, but Jane Eyre was dead: she had died of typhus fever at Lowood. Now act as you please: write and contradict my assertion -- expose my falsehood as soon as you like. You were born, I think, to be my torment: my last hour racked by the recollection of a deed which, but for you, should never have been tempted to commit." (256)
This shows how much Mrs. Reed hates Jane. When Mrs. Reed tells Jane to "expose her falsehood", she finally shows that she is finally open with hating Jane. She still holds a grudge after all these years, and considers Jane her "torment". Why should she think this anyways, if she sent Jane to Lowood, without paying for it? Jane didn't even come back to the Reeds to live after her schooling.
I think this passage is important because it shows the effects of Jane's isolation during the times where girls "knew their place". Mrs. Reed after eight/ nine years still holds a grudge agaisnt Jane's rebellion that one cold, windy day when she was ten. Girls had to be calm and collected, the "angels", which to Mrs. Reed, Jane was not. Jane considers herself passionate, but to Mrs. Reed, it was "vemon" poured out of Jane's mind. In being different, Jane was seen as a burden on Mrs. Reed.
She saw Jane as very masculine, when she "felt fear as if an animal that had struck or pushed had looked up at me with human eyes and cursed me in a man's voice." Jane doesn't even call Mrs. Reed, aunt, until later on when she tells Mrs. Reed to kiss her. It shows that they were never close. I also thought it was suspicious that Mrs. Reed knew about the typhus fever going around in Lowood, when she wrote to her uncle that she had died of it.
This passage is also ironic. Women were considered "angels", but Mrs. Reed took revenge on Jane, which is very hypocritical. It is also ironic because, even though Mrs. Reed hates Jane, Jane was really the only person to see her. Her own daughters barely saw her even during the funeral. Georgiana did even go. Jane even knows that "she had ever hated [her] -- dying, she hate [her] still." (257), but still tries to make amends before she dies.
To comment on steph113's entry,
Though Jane does try to forgive Mrs. Reed during the short time she has left, It can't help to be noticed that, though Mrs. Reed shows some remorse for how she treated Jane, she still dislikes her. She pulls her hand away from Jane's a few times and Jane observes that, "it was too late for her to make now the effort to change her habitual frame of mind: living, she had ever hated me-dying , she must hate me still"
(257). So, though Jane has come to forgive her aunt and be the bigger person, Mrs. Reed can not overcome her ego and be respectable to Jane.
Katie,
I was thinking about that, too. Eliza, Georgiana, and Jane are all completely different. Even though Eliza, went through a "religious rebirth", she barely cared for her mother. Georgiana doesn't even go to her mother's funeral. What I found ironic was that Jane was the one to see Mrs. Reed, in her last hours.
This whole novel has many obvious religious references that we see, like when Jane was with Mr. Mason. However, it was all shown negatively, as I remember. That was probably why Bronte showed religion in a negative light, and having no belief, like Jane, was the moral way. Helen, the religious one, died to typhus. Miss Temple left to be married, never talking to Jane again.
“If you please, sir, I want leave of absence for a week or two.”
“What to do- where to go?”
“To see a sick lady who has sent for me.”
“What sick lady? where does she live?”
“At Gateshead, in –shire.”
“-shire? That is a hundred miles off! Who may she be that sends for people to see her that distance?”
“Her name is Reed, sir- Mrs. Reed.”
…
“And what have you to do with her? How do you know her?”
“Mr. Reed was my uncle- my mother’s brother.”
“The deuce he was! You never told me that before: you always said you had no relations.”
“None that would own me, sir. Mr. Reed is dead, and his wife cast me off.”
“Why?”
“Because I was poor and burdensome, and she disliked me.”
…
“And what good can you do her? Nonsense, Jane! I would never think of running a hundred miles to see an old lady who will, perhaps, be dead before you reach her: besides, you say she cast you off.”
“Yes, sir, but that is long ago; and when her circumstances were very different: I could not be easy to neglect her wishes now.”
“How long will you stay?”
“As short a time as possible, sir.”
“Promise me only to stay a week-.”
“I had better not pass my word: I might be obliged to break it.”
“At all events you will come back: you will not be induced under any pretest to take up a permanent residence with her?”
“Oh no! I shall certainly return if all be well.”
“And who goes with you? You don’t travel a hundred miles alone.”
“No, sir, she has sent her coachman.”
“A person to be trusted?”
“Yes, sir, he has lived ten years in the family.”
Mr. Rochester meditated. “When do you wish to go?”
“Early to-morrow morning, sir.”
“Well, you must have some money; you can’t travel without money…” (239-240)
In this passage, from chapter 21 of Jane Eyre, Bronte characterizes both Jane and Rochester through the conversation they share regarding Jane’s departure to see Mrs. Reed. Bronte shows Jane’s dislike and resentment toward her aunt, along with her willingness to forgive, and develops the loving feelings Rochester has for Jane.
The syntax with which Jane’s dialog is written in shows the resentment that she still holds towards her aunt even years later. When asked by Rochester why she wishes to take leave of absence, Jane replies that a sick “lady” requested to see her. Then, when asked “What sick lady?” and “where does she live?” Jane only answers the where and again does not give the name of the “sick lady.” This reluctance to say the name “Mrs. Reed” or “aunt,” created through Jane’s terse responses to Rochester, shows both that Jane wishes not to discuss the painful experience she had before coming to Thornfield and that she does not want Rochester to know she has wealthy and known relations. However, after more questioning by Rochester, Jane is forced to give up some details about her aunt and their relationship. As she does this, Rochester questions why Jane would want to travel a hundred miles to see a women that hated her. Jane responds by saying that Mrs. Reed hated her but might not currently feel the same way. This shows Jane’s willingness to forgive others, a quality similar to that of Christ that she picked up at Lowood.
Also, Rochester’s constant questioning of Jane characterizes his feelings towards Jane. From the worried tone his inquiries hold, the can assume that he certainly holds feelings for Jane, both as a lover and a father figure. His questions show his concern about Jane’s safety and well being; they also portray that he does not want Jane to be away from him.
Bronte’s characterization in this passage helps to develop both Jane and Rochester’s individual characters and their relationship together.
To Katie’s post, I find it interesting that you connected the underlying motifs of ‘hot’ and ‘cold’ to Eliza and Georgiana in this passage. I’m not sure if I agree that Jane is trying to find a balance between the two personalities that are portrayed in your passage however. It seems that both are fundamentally ‘bad’ in their own way, and that no balance between the kind of ‘hot’ and ‘cold’ that the two sisters are can make a ‘good’ personality. I do see what you are saying when describing Eliza as ‘cold’ though, she certainly has no connection with other human beings and is very closed off, but I do not see Georgiana as being too ‘passionate.’ She seems more self-centered and bored, though she has higher ambitions.
What I find most interesting in this passage is the irony in the fact that Mrs. Reed is ignored by Eliza and Georgiana whom she gave so much attention to when they were children and, instead, now shown attention by Jane, whom she ignored and harassed as a child. This highlights Jane’s positive qualities, like her willingness to forgive, as compared to Eliza and Georgiana. I think that with this, Bronte is arguing that the morals that develop throughout life do not depend on one’s social class.
"I had forgotten to draw my curtain, which I usually did, and also to letdown my window-blind. The consequence was, that when the moon, which was full and bright (for the night was fine), came in her course to that space in the sky opposite my casement, and looked in at me through the unveiled planes, her glorious gaze roused me. Awakening in the dead of night, I opoened my eyes on her disc--silver-white and crystal clear. It was beautiful, but too solemn: I half rose, and stretched my arm to draw the curtain.
Good God! What a cry!
The night--its silence--its rest, was rent in twain by a savage,a sharp, a shrilly sound that ran from end to end of Thornfield Hall." (219)
In this passage Bronte uses imagery, personification, and juxtaposition in order to compare the violent and angry Grace Poole to the serene and beautiful moon. This comparison is made because Bronte wishes to accentuate the anger of Grace Poole for some reason, and in comparing her to an object known for beauty and tranquility, she can easily accomplish this task.
Bronte chooses specific images to juxtapose the moon and Grace and in doing so brings attention to Grace's cat-like ferocity. Bronte deescribes the moon as being "full and bright" to display that the moon islarge and beautifulin the night sky. She describes the moon as a "disk", giving it a perfectness due to the connotation of the word. A disk is scene as a perfectly circular shape, and so in this way the moon is complimented further. The moon is then described as "silver-white and crystal clear" which juxtaposes the situation with Grace Poole, which is very unclear and is quite a mystery to Jane. The moon is personified as a woman in order to make it even more comparable to Grace Poole. Bronte describes that "the moon came in her course" and "looked in at [Jane]" with "her glorious gaze." These qualities are given to the moon in order to contrast the qualities of Grace Poole. A shift occurs with Bronte's use of the phrase "Good God!", letting the reader know something terrible has happened in juztaposition to the perfect moon. Descriptive sound words such as "savage", sharp", and "shrilly" are used todescribe Poole's laughter because these words all have an angry and frocious nature to them and give her a savage quality which greatly differs from the moon.
Bronte most likely creates this passage to raise more curioisty about why Poole is as ferocious as she is. After reading the rest of the chapters it is clearthat it has something to do with what Rochester has done, so perhaps the audience is supposed to pity her for this anger in the end? All we know for now however is that Grace Poole is definately not described as beautifully as the moon is when she is locked in that back room.
Oh and a side comment... I am really really angry at Blogspot. This is like the third time one of my posts didn't get posted and then I have to retype them. I had typed up a post way better than this last night and I got rediculously mad at it not being posted and I was not going to reblog...but then the thought of a zero got the better of me and I realized that I had to. Just a warning to you guys...I am going to start typing my blogs in Word and then just pasting them in here, I suggest you do the same if you don't already. =]
"Then my own thoughts worried me. What crime was this,that lived incarnate in this sequstered mansion, and could neither be expelled nor subdued by the owner?--what mystery that broke out, now in fire and now in blood, at the deadest hours of the night? What creature was it, that, maksed in an ordinary women's face and shape, uttered the voice, now of a mocking demon, and anon of a carrion-seeking bird of prey?
And this man I bent over--this commonplace, quiet stranger--how had he become involved in the web of horror?"(225)
In respone to Valley Girl 09's stating that "the tone of this passage is worried" I think I would disagree with you. I do agree that there does seem to be a feeling of worry here from Jane's persepctive, however tone usually isn't the emotion that the character herself is feeling, but the emotion or attitude the author feels toward what she is speaking about. I totally think that Jane is very worried here, however I feel as though the tone of Bronte just seems to be earnest here. She seems to be telling the story exactly as it is "happening" (its fiction so I guess it can never really happen) and doesn't seemt o be slanting the story in any which way. I don't even know if earnest would be the correct word to use in describing Bronte's tone, but I know that worried seems to describe the feel of the whole situation not necessarily how Bronte feels about the situation. I'm not one hundred percent sure on this, but I am sure we can talk about it in class. Speaker's tone vs Author's tone often confuses me.
To add to katie's comment on the importance of Jane's drawing, I believe that it is one way for her to let out all that lies muddled in her head. When she showed her drawings to Rochestor, he was surprised at the subjects of the paintings, and that she had painted from her own image. The fact that until she meets Rochestor, she paints what is in her head also brings more significance to it, for she is not merely copying what is already in the world, she is not only rendering something substantial, but making her own mind more concrete.
Her drawing sets her apart from others. From the time she was ten and would sit and look at the pictures in her books, she has shown interest in art. It is an escape for her.
"I had forgotten to draw my curtain, which I usually did, and also to let down my window-blind. The consequence was, that when the moon, which was full and bright(for the night was fine), came down in her course to that space in the sky so opposite my casement, and looked in at me through the un-veiled panes, her glorious gaze roused me. Awakening in the dead of night, I opened my eyes on her disc-silver white and crystal clear. It was beautiful, but too solemn: I half rose, and stretched my arm to draw the curtain." (219)
Moon symbolism comes up again in this passage. The moon makes many appearances throughout the novel. Whether it be the moon lights affect on the objects that it falls upon, or the personification of the moon as in this passage.
The moon appears as a very feminine subject. having the light of the moon shine directly onto Jane. She recognizes its beauty, but thinks it "too solemn." This represents Jane's view on the feminine role in her society. She does not wish to follow so directly the path that her other woman take, and this is known not only through the choices she makes, but also by her drawing on the curtain to shut out the moon. She may have always ignored it, but she does want to be loved. She has worked not to become just another wife, yet she does not wish to be alone forever. Though she may usually draw the curtain to keep out the moon, to keep out her feminine desire, when she slips and it does come through to her, she is intrigued by its beauty.
The interesting thing to note about Jane's recieving of the moon is her thinking of it as "too solemn." She still does hold to her view of such things, yet the moon symbolizes the awakening of these inside of her,a foreshadowing of what is to come.
"My pulse stopped: my heart stood still; my stretched arm was paralyzed. The cry died, and was not renewed. Indeed, whatever being uttered that fearful shriek could not soon repeat it: not the wildest-winged condor on the Andes could, twice in succession, send out such a yell from the cloud shrouding his eyrie. The thing delivering such utterance must rest ere it could repeat the effort" (219)
In this passage Jane had just heard a before she went up to draw the curtain in order to block the moonlight which keeps her awake. The comparison between a condor that resides in the Andes (the world's longest exposed mountain range) serves to emphasize the ferocity and length of the cry as she also describes the "wildest-winged." - which notes an extreme. She uses the word "eyrie" which serves as a bird register as well as hint at it having quality equal to a god as the cry is "from the cloud shrouding his eryie." Jane's choice of making the condor a male heightens her perception of the cry as to be something dominating and brute. Her disbelief that the cry will happen again anytime soon helps emphasize the mysteriousness and power of the cry as well as mark it as one of a kind.
To lily's comments on her passage: I would like to add how Mrs. Reed attributes Jane’s behaviors as to everything but a women’s or girl’s. She calls it “unchildlike”, a “man’s voice” and even compared to an animal. It is interesting that Mrs. Reed tempts Jane to exact revenge on her. This act of hers probably serves to provoke Jane in order to prove a point of whether Jane has become more lady-like or not. If Jane does act upon what Mrs. Reed asks then she is no different from the indignant girl which Mrs. Reed describes, but if Jane refuses, then it reveals that she has learned to keep in her emotions like a proper lady at that time. Perhaps this a way for Mrs. Reed to forgive Jane. Her last comment “my last hour racked by the recollection of a deed which, but for you, should never have been tempted to commit” hints at Mrs. Reed being somewhat regretful as she agrees it is she is too at fault for tempting Jane to be that way.
"Poor suffering woman! it was too late for her to make now the effort to change her habitual frame of mind:living, she had ever hated me--dying, she must hate me still. The nurse now entered, and Bessie followed. I yet lingered half an hour longer, hoping to see some sign of amity: but she gave none. She was fast relapsing into stupor;nor did her mind again rally: at twelve o'clock that night she died. I was not present to close her eyes: nor were either of her daughters. They came to tell us the next morning that all was over. She was by that time laid out. Eliza and I went to look at her :Georgiana, who had burst into loud weeping, said she dared not go. There was stretched Sarah Reed's once robust and active frame, rigid and still: her eye of flint was covered with its cold lid; her brow and strong traits wore yet the impress of inexorable soul. A strange and solemn object was that corpse to me. I gazed on it with gloom and pain; nothing soft, nothing sweet, nothing pitying, or hopeful, or subduing did it inspire; only a grating anguish for her woes--not my loss--and a sombre, tear less dismay at the fearfulness of death in such a form(Bronte 257)."
In this passage, Jane lingers in the room of Mrs. Reed in the hopes that she will accept Jane's forgiveness; but Mrs. Reed refuses. Mrs. Reed dies at this time and Jane Eyre sees the dead body of Mrs. Reed and has once more in the novel glimpsed upon death. This passage shows each of Jane's, Eliza's and Georgiana's reaction to Mrs. Reed's death, and also serves to emphasize the Gothic elements of the novel with the ever-present presence of death.
Mrs. Reed is not a woman who will seemingly be well-missed by her daughters or in particular Jane. Jane attempts to make amends with her, but she is a harsh and unforgiving woman as shown that even in death she still hates Jane. Sarah Reed is a relative of Jane Eyre yet she is "a strange and solemn object" to her. Her death does not even seem a cause of great mourning in the Reed household; it is rather insignificant. Eliza evidences no emotion and while Georgiana cries for her mother, she has stated before that she could not wait until this was "all over". Truly, Mrs. Reed's death seems more of a relief and with her death came the news to her daughters and Jane that "all was over", like the passing of a terrible war or disastrous event.
Death has been present from the beginning to the present of the novel and will likely continue playing an important role. It is a Gothic element central to the novel. With each person's death, Jane's perspective on death is different each time. Jane is at first afraid of "seeing a corpse" with Helen Burns death but cares little for Mrs. Reed's. She is only fearful of dying "in such a form". Jane does not wish to die as Mrs. Reed did, anguished and tormented by her deeds in life and with the failures of her son. She does not wish to be a cold and hard woman, unyielding even in death.
This passage is also interesting to note the influence that Helen Burns and Lowood had on Jane Eyre. Jane remains in the room as long as possible in order for Mrs. Reed to accept her forgiveness and bears no ill feelings towards her. She aspires for "amity" between herself and Sarah Reed and upon her death feels pain for Reed's tormented life.
“Yes, yes, you are right” said he; “I have plenty of faults of my own, I know it, and I don’t wish to palliate them I assure you. God wot I need not be too severe about others. I have a past experience, a series of deeds, a colour of life to contemplate within my own
breast, which might well call many sneers and censures from my neighbours to myself. I started, or rather( for the other defaulters, I like to lay half the blame on ill fortune and adverse circumstances) was thrust on to a wrong tack at an age of one and twenty and gave never recovered the right course once; but I might have been very different; I might have been as good as you—wiser—almost as stainless. I envy you your peace of mind, your clean conscience, your unpolluted memory. Little girl, a memory without blot or contamination must be an exquisite treasure—an inexhaustible source of pure refreshment: is it not?”(143)
In this passage from Charlotte Brontë’s Jane Eyre, the well-rounded, Byronic hero, Edward Rochester, relates a brief summary of his life to the heroine Jane Eyre wherein he mentions his “past experience”. In this passage, Brontë’s message is to have Mr. Rochester’s life experience be the perpetual story of man’s regret for the loss of innocence due to a life of hardship and nostalgic memories.
Throughout the novel, Brontë creates the elements of a Byronic hero in Mr. Rochester, when he confirms that he has “faults” of his own, however he does not elaborate into them. The first section has Mr. Rochester enlightening Jane with his recollection of a dissolute life wherein mentions the revelation of his “deeds” can result “sneers and censures” his peers. Through the section, the melancholic tone that Mr. Rochester employs in his speech wherein he declares he has been throw into this life of errors gives a passive look on his years. Through this compound mix of passive/melancholic tone, Brontë accomplishes the effect of invoking sympathy from the reader, as well as Mr. Rochester gaining empathy from Jane.
Next, the following section gives light to Mr. Rochester’s source of lament and melancholy when he insist he “might have been different” wherein the Byronic hero when he reveals his regret towards his life. Next, Mr. Rochester’s emphasizes the necessity over a “clean conscience” indicates his obsession to attain a “peace of mind” which has the connotations of innocence and redemption. Through this section, the author employs the contrast between the perfect and imperfect minds that highlight the subject matter of guilt and innocence.
To comment on KeVien post,I can also assert that the reoccuring scenes and happennings of the stay in Thornsfield to correlate to the night when Mr. Rochestor bed was on fire. These two unique seems to carry the same premise of punishing Mr. Rochester and with the addition of religious articles then the purpos bcomes ambiguous. More on this later..
I wanted to comment and expand on what Cgene said about the moon and its feminine qualities. I hadn't really noticed the moon as having female qualities and its personification until mentioned now. But I do think it a very interesting idea that Jane's closing of the curtain expresses her wishes to differentiate from the average woman of that day and age. Jane wishes to be different and truthfully she is, but her actions contradict her feelings.
Jane has expressed before in the novel that women also wish to perform the same actions as men and she feels restless. She doesn't wish simply to be a wife and mother as Cgene mentioned, but to move beyond that stereotypical role of a woman. She takes certain liberties with Mr. Rcohester that I doubt even Blanche Ingram would take and I'd imagine when she refused to return his money upon his request(the money he gave her for travel), it was considered quite a controversy at that time. She is under his employment and therefore obligated to obey and also as a woman she shouldn't go against the wishes of a man; yet she does anyways.
Jane has certainly closed the curtains on a traditional female role. It's also interesting to note that she thinks the moon "too solemn" and regarded Mrs. Reed upon her death "too solemn" and Jane's desire to never be that way.
In response to Ash's comment, that passage was those kinds that make you go 'aww'. It is pretty evident that Rochester feels the same way about Jane as she does, so the feelings are mutual. As much as Jane wants to deny it, and as much as she keeps telling herself that he would never feel the same for her, there he is, showing his vulnerability and wants, like wishing they were 'on a quiet island' together.
However, the next part of that line kind of made me question Rochester's background: "and trouble, and danger, and hideous recollections removed from me". It seems like Rochester has a lot of dirty secrets and parts of his past that he still hides away. Unless Rochester lets go of his past, and 'hideous recollections', then can Jane and him finally be together.
"'Is the wandering and sinful, but now rest-seeking and repentant, man justified in daring the world's opinion, in order to attach to him for ever this gentle, gracious, genial, stranger, thereby securing his own piece of mind and regenration of life?'
'Sir,' I answered, 'A wanderer's repose or a sinners reformation should never depend on a fellow-creature. Men and women die; philosophers falter in wisdom, and christians in goodness; if anyone you know has suffered and erred, let him look higher than his equals for strength to amend and solace to heal.'
'But the instrument- the instrument! God, who does the work, ordains the instrument, I have myself- I tell it you without parable- been a wordly, dissipated, restless man; and I believe I have found the instrument for my cure in- ...little friend,' said he, in quite a changed tone- while his face changed too, losing all it's softness and gravity,and becoming harsh and sarcastic- 'you have noticed my tender penchant for Miss Ingram: don't you think if I married her she would regenerate me with a vengeance?'"(234)
I see what Bronte is doing here, and it's so anticlimactic! The whole time the reader expects it to be Jane, because Mr. Rochester shows such evident signals that he fancies Jane, as he almost lets slip several times. Mr. Rochester is toying with her emotions, and he knows her feelings for her. Bronte has created Blanche as a foil for Jane, creating even more tension between them. Not only is there competition over Mr. Rochester now, there is also the fact that they are exact opposites of eachother. Jane's response to Mr. Rochester is to look to God. This is definitely not what Miss Ingram would say, she would probably agree with his last question simply to get what she wants- money. Mr.Rochester's changed from soft to harsh when he mentioned Blanche Ingram, further proving that he doesn't love her. Bronte is making a statement about marriage, and what it is truly for. She is questioning the real reason people get married in the first place. If Jane becomes rich suddenly, it is for certain that he will pursue her. Will Jane accept after this torture that he is causing her? Bronte is making a statement about marriage, and the social caste's role in marriage.
To respond to Malisa's comment about Mr. Rochester giving Jane a flower.
I think it's interesting that he evetually chooses a "half-blown flower" but I think that it represents the fact that he constantly talks to Jane about Blanche. It's like the guy friend you're in love with who keeps talking about his crush. It hurts, it's simply painful. Jane wants to be there and she "lives to serve him" but she cannot bear being compared to her all the time. When Mr. Rochester offers her the flower, it is parallel to his speech about him wanting to be married to someone to "regenerate" him "with a vengeance", and really be talking about Blance the whole time. It's sweet that he offers her a flower, and it's sweet he confides in her. But the flower is not something that Jane relates with, and Blanche is not what Jane wants to talk about all the time!
"Well did I remember Mrs. Reed's face, and I eagerly sought the familiar image. It is a happy thing that time quells the longings of vengeance and hushes the promptings of rage and aversion. I had left this woman in bitterness and hate, and I came back to her now with no other emotion than a sort of ruth for her great sufferings, and a strong yearning to forget and forgive all injuries--to be reconciled and clasp hands in amity.
The well-known face was there: stern, relentless as ever--there was that peculiar eye which nothing could melt, and the somewhat raised, imperious, despotic eyebrow. How often had it lowered on me menace and hate! and how the recollection of childhood's terrors and sorrows revived as I traced its harsh line now! And yet I stooped down and kissed her: she looked at me."(246)
In this passage, Jane recollects the image of her Aunt's face, and compares the angst and rage back then, to the more mature and reconciliation that Jane seeks now. This passage truly shows how much Jane has grown up since. In the beginning, Jane could not wait to leave her aunt, and had "left this woman in bitterness and hate". But with all the experiences Jane has gone through, and all the lessons she's learned on the way, she can't help but let go of the past and forgive and forget.
The personification of time compares it to something that can calm and smooth over any kind of wounds, and that it "quells the longings of vengeance and hushes the promptings of rage and aversions."
Then Jane goes on to describe her aunt's face, with the "peculiar eye which nothing could melt, and the somewhat raised imperious, despotic eyebrow." The description of her face gives us the impression of her aunt as this cold, and icy figure. She seems like a person Jane could never really connect to. Bronte's choice of words to describe her facial features, such as 'imperious', and 'despotic' give Aunt Reed a tyrannical and arrogant characteristics. Then Bronte personifies the eyebrow as something that had "lowered on [her] menace and hate!" constantly during her childhood. And again, the description of Reed's brow is repeated when Jane traces "its harsh line" that reminded her of "childhood's terrors and sorrows".
However, the passage shifts when Jane says "And yet I stooped down and kissed her". The juxtaposition of this statement contrasts what was said before it to show how much Jane has grown. The beginning of the passage recollects all the past sorrows and fears that her aunt had made her go through, but because of her "strong yearning to forget and forgive all injuries", she finds it in her heart to still kiss her.
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