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The impact of role models
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Both the protagonists, Jane and Mrs De Winter in Rebecca are characterised as naïve females who have encountered traumatic and demoralising events in their early years. Through the subsequence events of the plot, these females undertake a bildungsroman journey to adjust to high class society. The heroine in Rebecca has been constantly haunted by the ghost and ‘femme fatale’ figure of Maximillian’s deceased wife (Rebecca) and is unable to live up to society’s expectations. In contrast, Jane can appear to be left demoralised by her extended family, her Aunt and cousins, where she was abused, from a very young age, for standing up for herself. However, her punishment can be seen as a blessing because the time spent in the ‘red-room’ was the
By Jane expressing rage and blatantly retaliating against authority it was defiance against the traditional role of women. After expressing her feelings, Mrs Reed sends her away to Lowood School. However, before doing so she severs her ties with her Aunt by saying ‘I will never call you aunt again as long as I live’. Here Jane gains familial liberation and expresses her emotional state of mind as she takes a stand and shows some empowerment. Likewise, in Rebecca, the late Mrs De Winter was also portrayed as a strong female who could stand up for herself. In addition, the psychological effect Jane experienced throughout chapter 1,in the ‘red-room’, is also demolished once she said expressed her thoughts to her Aunt as she felt her ‘soul begin to expand.’. This indicates that she is finally free from the burden and torture that her ‘soul’ had to carry which also reflects the physical freedom that she has gained when moving away from her Aunt. However, as her ‘soul’ began to expand, Brontë could be implying that God is on her side since an expanded soul indicates that one has been forgiven or has seen the light. In addition, Jane also asserts her authority against Aunt Reed as she declared
‘Rebecca’ and ‘The Bloody Chamber’ convey the gothic theme of isolation by employing the embodiment of dominant male characters. The femme fatal persona in ‘Rebecca’ creates a stigma about how Mrs de Winter should act. The Fairy-tale form causes development of female power and causes a sense of resilience throughout the collection of short stories. The use of controversial issues of feminine empowerment exercises the idea that women should have more power within heterosexual relationships. There are several Gothic conventions within both texts, for example setting is vital because the authors use immense, reclusive places like Manderly and the Castles causing physical entrapment for the feminine roles. Violent characteristics from Maxim and
Daphne Du Maurier's Rebecca Rebecca has been described as the first major gothic romance of the 20th century; Mrs. Danvers’ character is one of the few Gothic interests within the novel. Her unnatural appearance and multi-faceted relationship with Rebecca provides scope for manifold interpretations and critical views. Furthermore, Mrs. Danvers connection with Rebecca and Manderlay is a sub-plot in itself, making Mrs. Danvers the most subtly exciting character in the novel.
In the novel, Jane Eyre starts as a young girl of ten years old; she lives with her aunt Mrs. Reed and her cousins John, Georgiana, and Eliza. At Gateshead, Jane has undergone betrayal in the acts that the Reed family does not treat her as a part of their family. Mrs. Reed treats Jane unkindly and as if she was a victim to put it, in other words, Mrs. Reed says “ take her away to the red-room and lock her in there” (Brontë, Ch. 1). Mrs. Reed
Through struggle, one can come out on the other side of adversity feeling stronger knowing that they have survived hardships. In Daphne du Maurier’s novel Rebecca, this concept is examined through an insecure, anonymous young woman who marries above her class to the enigmatic Maxim de Winter. Her marriage leads her to move into the grand Manderley estate, where she encounters constant reminders of her husband’s deceased first wife that force her to see herself as inferior. The narrator’s most obvious distinction is her low self-esteem, highlighted by a barrage of self-loathing thoughts and a consistent belief in her inadequacy. However, when the awkward, unconfident narrator is forced to overcome the obstacles that arrive with life at
When we first meet Jane she is a young and orphaned girl with little self-confidence and hope of feelings a sense of belonging and self worth. It is unfair that Jane already feels lonely and desperate in such a cruel world as it is. Jane is open with her thoughts during her narration, “…humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed” (Bronte 7). Jane already feels as though she cannot participate in everyday activities because she acknowledges that she is a weaker person. By Jane believing she is weak she is succumbing to her own entrapment. The novel opens with Jane feeling inadequate about going on a walk with her cousins and the novel ends with Jane embarking on a journey of her very own, this is not a coincidence.
The three events that mark Jane as an evolving dynamic character are when she is locked in the red room, self reflecting on her time at Gateshead, her friendship with Helen Burns at LoWood, her relationship with Mr. Rochester, and her last moments with a sick Mrs. Reed. Brought up as an orphan by her widowed aunt, Mrs. Reed, Jane is accustomed to her aunts vindictive comments and selfish tendencies. Left out of family gatherings, shoved and hit by her cousin, John Reed, and teased by her other cousins, Georgina and Eliza Reed, the reader almost cringes at the unfairness of it all. But even at the young age of ten, Jane knows the consequences of her actions if she were to speak out against any of them. At one point she wonders why she endures in silence for the pleasure of others. Why she is oppressed. "Always suffering, always browbeaten, always accused, forever condemned" (Bronte, 12). Jane’s life at Gateshead is not far from miserable. Not only is she bullied by her cousins and nagged by her aunt, but help from even Bessie, her nurse and sort of friend, seems out of her reach. In the red room scene Jane is drug by Ms. Ab...
The tone of Jane Eyre is direct, perhaps even blunt. There is no prissy little-girl sensibility, but a startlingly independent, even skeptical perspective. At the age of 10, the orphan Jane already sees through the hypocrisy of her self-righteous Christian elders. She tells her bullying Aunt Reed, "People think you a good woman, but you are bad; hard-hearted. You are deceitful!" and "I am glad you are no relative of mine; I will never call you aunt again so long as I live. I will never come to see you when I am grown up; and if any one asks me how I liked you, and how you treated me, I will say that the very thought of you makes me sick." (In fact, when her aunt is elderly and dying, Jane does return to visit her, and forgives her. But that's far in the future.) With the logic of a mature philosopher, in fact rather like Friedrich Nietzsche to come, Jane protests the basic admonitions of Christianity as a schoolgirl: "I must resist those who ... persist in disliking me; I must resist those who punish me unjustly. It is as natural as that I should love those who show me affection, or submit to punishment when I feel that it is deserved." And this bold declaration, which would have struck readers of 1847 (in fact, of 1947) as radical and "infeminine":
This can mostly clearly be shown when Jane comes full circle and visits her ailing aunt. Jane is forced to choose between hanging onto past insults and neglect or moving on and showing her aunt love. At Lowood Jane was taught how to love and forgive by Helen. “Yet it would be your duty to bear it, if you could not avoid it: it is weak and silly to say you CANNOT BEAR what it is your fate to be required to bear.” ( Jane Eyre 101 of 868) Helen taught Jane in the past that you must bear your burdens, in this case, Mrs. Reed’s coldness. “‘Yes, Aunt Reed. How are you, dear aunt?’” (Jane Eyre 438 of 868) Jane’s use of an affectionate word such as “dear” to address her aunt demonstrates the transformation of Jane’s perspective on her aunt. Jane palliates her old feelings replacing them with her newfound ability to love. “I felt pain, and then I felt ire; and 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. I brought a chair to the bed-head: I sat down and leaned over the pillow.” (Jane Eyre 439 of 868) Bronte uses word choice to portray how Mrs. Reed’s antipathy towards Jane hurts Jane. Through negative word choice, a cold and frustrated tone is introduced into the passage, showing Jane’s emotional anguish. “I approached my cheek to her lips: she
This feeling intensifies when Mr. Brocklehurst arrives to take Jane away to Lowood School. Her aunt is pleased to see her go, but manages to influence Jane's life even after Jane is settled in at the charity school, by informing Mr.
In the book, Rebecca by Daphne Du Maurier, there exist a big emphasis on social class and position during the time of this story. When we are introduced to the main character of the story, the narrator, we are right away exposed to a society in which different privileges are bestowed upon various groups. Social place, along with the ever present factor of power and money are evident throughout the story to show how lower to middle class groups were treated and mislead by people on a higher level in society. When we are introduced to the narrator, we are told that she is traveling with an old American woman; vulgar, gossipy, and wealthy, Mrs. Van Hopper travels across Europe, but her travels are lonely and require an employee that gives her warm company. This simple companion (the narrator) is shy and self-conscious, and comes from a lower-middle class background which sets up perfect for a rich man to sweep her off her feet. The narrator faced difficulties adapting to first, the Monte Carlo aristocratic environment, and second, to her new found position as Mrs. De Winter, the new found mistress of Manderley.
Jane went through the torment of the Reed family, the harsh conditions of Lowood, and stress of marrying a man of a different class. Throughout the novel Jane gets put down for being a poor orphan girl. She gets called names and punished for who she is. “’No sight so sad as that of a naughty child,’ he began, ‘especially a naughty little girl. Do you know where the wicked go after death?” (Bronte 39). Mr. Brocklehurst assumes Jane to be a bad child. Was she bad? I would say she was just mislead and influenced wrong. Overall Jane fins independence and peace in the
Most women, especially in the seventeenth-century, are not given the right to choose their own destiny. Women are expected to serve for others, whether it is a husband, or owner, and not to have real fulfilling, genuine roles in the world. This restrain against women detains them from living the independent and free life that everyone deserves. In the novel, A Mercy, by Toni Morrison, the main female characters, Rebekka, Florens, Lina, and Sorrow, are victims of a controlled lifestyle, and are forced to live in a world that is shaped for them. Toni Morrison reveals the inferior, degraded, and vulnerable role of women during the late-seventeenth-century.
Many women in modern society make life altering decisions on a daily basis. Women today have prestigious and powerful careers unlike in earlier eras. It is more common for women to be full time employees than homemakers. In 1879, when Henrik Ibsen wrote A Doll's House, there was great controversy over the out come of the play. Nora’s walking out on her husband and children was appalling to many audiences centuries ago. Divorce was unspoken, and a very uncommon occurrence. As years go by, society’s opinions on family situations change. No longer do women have a “housewife” reputation to live by and there are all types of family situations. After many years of emotional neglect, and overwhelming control, Nora finds herself leaving her family. Today, it could be said that Nora’s decision is very rational and well overdue.
At the beginning of the book, Jane was living with her aunt Mrs. Reed and her children. Although Jane is treated cruelly and is abused constantly, she still displays passion and spirit by fighting back at John and finally standing up to Mrs Reed. Even Bessie ‘knew it was always in her’. Mrs. Reed accuses Jane of lying and being a troublesome person when Mr. Brocklehurst of Lowood School visited Gateshead. Jane is hurt, as she knows she was not deceitful so she defends herself as she defended herself to John Reed when he abused her, as she said “Wicked and cruel boy! You are like a murderer – you are like a slave driver – you are like the Roman emperors!” to John Reed instead of staying silent and taking in the abuse, which would damage her self-confidence and self-worth. With the anger she had gotten from being treated cruelly, she was able to gain ...
‘Rebecca’ looks into the faults of the class structure and upper class society. It shows the narrators inability to accept her new social class when marrying Maxim which adds to her torment. The narrator is told by Mrs Van Hopper she will never fit in at Manderly because of her social class, and tells her she is making a “big mistake" marrying Maxim and that she will "bitterly regret" it, this foreshows the struggle that she will face during her marriage with Maxim