From the time Jane is held in the red-room and Bertha being detained as one of Rochester’s “prisoners” in the attic, Brontë creates a similarity between Jane and Bertha from their furies manifesting deep within themselves as being another token of oppression within a patriarchal society. Both females live within the same circumstances of a restriction-filled male-controlled time; their responses to these circumstances, however, make them adverse counterparts. While Bertha kindles a fiery wrath toward her oppressor, Jane must learn to contend with her anger so that she will ultimately be free to live a life of true equality and love with Rochester. In the novel Jane Eyre, Charlotte Brontë draws distinct similarities between the red-room and …show more content…
Bertha is Jane's truest and darkest double; she is the angry aspect of the orphan child, the ferocious secret self whom Jane has been trying to repress ever since her days at Gateshead. Brontë often places these two characters together, revealing the socially permissible through Jane who is juxtaposed with Bertha, her atrocious and unrestricted other half. If Bertha is Jane's darkest double throughout the novel, it is no wonder that Bertha manifests rage whenever Jane restrains her own anger. For example, as "bright visions" of "life, fire, [and] feeling" (101) appear to Jane on the third floor, she hears Bertha's "mirthless" laugh and "eccentric murmurs" …show more content…
As her feelings intensify, Jane begins to experience the return of her dangerous counterpart that originated from her night in the red-room. As Bertha enters Jane's room, Jane sees "the reflection of [Bertha's] visage and features...in the dark oblong glass" (269) calling to mind the "visionary hollow" from the red-room, in which "all looked colder and darker...than in reality," (8). The "strange little figure" (8) Jane sees herself as years earlier, returns the day of her wedding as "the image of a stranger" (272) in the mirror of her dressing room. Bertha expresses Jane's feelings on the most extreme level by using her fiery wrath to burn down Thornfield, acting on Jane's profound desire to destroy this patriarchal fortress, the very symbol of Rochester's mastery and of her own
Eventually, she returns to her former employer, discovering Thornfield in ashes, Mrs. Rochester dead, and Mr. Rochester blind and free from wedlock. Flooded with motifs, Jane’s continual struggles between her passions and responsibility prevail as the main theme of Bronte’s entrancing narrative. From the introduction of Jane’s orphan life, she battles between her ire at cousin John’s antics and obedience to Aunt Reed’s reluctant guardianship.
Within Jane Eyre lies an explicit reference to the tale of Bluebeard. When first exploring the dark hall of Thornfield’s third floor Jane tells us, "I lingered in the long passage to which this led [. . .] with only one little window at the far end, and looking, with its two rows of small black doors all shut, like a corridor in some Bluebeard’s castle" (114; ch. 11). This allusion is not a casual one, for the plot of Jane Eyre has much in common with the tale of Bluebeard. Bronte uses Bluebeard to foreshadow Rochester’s first wife, Bertha, being locked away from society in a hidden room on the third floor. This reference also in part alludes to ideas of women’s obedience and how not following the patriarchal rules of society can lead to punishment. Bertha is isolated from society and held captive in a secret room because she is not the model wife and acts out despite her husband. This relates to Bluebeard because he murders his wives once they become disobedient. Bertha does die in the end of Bronte’s novel, though not at the hands of her husband. But even being isolated from society and held captive can be viewed as a symbolic death. Also Jane herself is often punished for not following the rules of patriarchal society. Bronte brings this poor treatment of women by society to light in the novel and shows her rejection of it through the characters of Jane and Bertha.
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
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...
Charlotte Bronte’s Jane Eyre chronicles the growth of her titular character from girlhood to maturity, focusing on her journey from dependence on negative authority figures to both monetary and psychological independence, from confusion to a clear understanding of self, and from inequality to equality with those to whom she was formerly subject. Originally dependent on her Aunt Reed, Mr. Brocklehurst, and Mr. Rochester, she gains independence through her inheritance and teaching positions. Over the course of the novel, she awakens towards self-understanding, resulting in contentment and eventual happiness. She also achieves equality with the important masculine figures in her life, such as St. John Rivers and Mr. Rochester, gaining self-fulfillment as an independent, fully developed equal.
... destroys Thornfield. While Jane lives at Thornfield the place is consistent with a "ridge of lighted heath, alive, glancing and devouring" as her passion for love and kindness is fulfilled by Mr. Rochester. The place then dies when she leaves, and is still "the same ridge, (just) black and blasted after the flames are dead" when Bertha burns it down.
Immediately from the start Bronte’s character Jane is different. She is an orphan, mis-treated and despised by her family. She has no clear social position, is described as “less than a servant” and treated like one. A protagonist who one would assume had no characteristics worth aspiring too. Jane is displayed perfectly in her hiding behind the curtain. She is placed by a window, which beyond is icy and cold, contrasting immensely from the inside of the fire and warmth. A clear statement of the icy coldness of the family she has been put to live with, and her fiery and passionate nature which we discover th...
For the first half of Jane Eyre, Bertha is only known to the reader through her nearly phantasmal presence&emdash;the peculiar laugh, and the mysterious incident in which Rochester's bed was lit on fire. Only after the foiled wedding of Rochester and Jane, in which Mr. Briggs and Mr. Mason appear unexpectedly declaring that the wedding should not proceed, does Rochester explain to Jane that he has a living wife detained on the third floor of Thornfield Hall. "He lifted the hangings from the wall, uncovering the second door: this, too, he opened" (327). "In a room without a window" Bertha is found living as a wild animal sequestered from everyone but her caretaker Grace Poole. Like a ferocious beast, she is even tied down and bound.
The Novel Jane Eyre by Charlotte Bronte took a surprising twist when Bertha "Mason" Rochester was introduced. Bertha leaves a traumatizing impression on Jane’s conscious. However, this particular misfortunate event was insidiously accumulating prior to Jane’s arrival at Thornfield. Through Bertha, the potential alternative dark turn of events of Jane’s past are realized, thus bringing Jane closer to finding herself.
...there. Jane doesn’t like the red-room and when she gets into trouble on day Mrs. Reed says,” Take her away to the red-room, and lock her in there.”(6) Her aunts’ was supposed to take care of her and not treat her badly. Another disappointment for Jane was supposed to marry Mr. Rochester but he is married so that was not able to happen.
Jane Eyre’s inner struggle over leaving an already married Rochester is the epitome of the new "lovemad" woman in nineteenth-century literature. Jane Eyre is the story of a lovemad woman who has two parts to her personality (herself and Bertha Mason) to accommodate this madness. Charlotte Bronte takes the already used character of the lovemad woman and uses her to be an outlet for the confinement that comes from being in a male-dominated society. Jane has to control this madness, whereas the other part of her personality, her counterpart, Bertha Mason, is able to express her rage at being caged up. As what it means to be insane was changing during Bronte’s time, Bronte changed insanity in literature so that it is made not to be a weakness but rather a form of rebellion. Jane ultimately is able to overcome her lovemadness through sheer force of her will.
The similarities between the two fire scenes might lead one to suspect that they are in some way parallel, yet their differences discount this oversimplified view. Both fires are set by arsonists described as insane. Bronte's Bertha is "the mad lady, who was as cunning as a witch" (Bronte 435). Rhys's Antoinette recalls "a horrible noise sprang up" from the attacking freedmen, "like animals howling, but worse" (Rhys 38). This madness, however, serves different purposes for each scene. Bronte uses madness to further degrade Bertha to the level of bestiality and insanity, a theme which she develops from the very moment the character is introduced until her fiery death in the destruction of Thornfield. By reducing Bertha to a single dimension, Bronte uses Bertha not as a character but as a tool with which to manipulate the flow of the plot. Rhys, however, uses madness toward a diffe...
... the anger that she had expressed as a young girl, due to the fact that her society does not accept it. This anger that she once held inside is prevelant in Bertha's act. It is in the Red Room that Jane "became increasingly alive with bristling energy, feelings, and sensations, and with all sorts of terrifying amorphous matter and invisible phantoms" (Knapp 146). This igniting energy and flow of feelings, are very similar to those that Bertha realises at Thornfield.
The period of their engagement is thus represented by Brontë as wrought with the perils of sexual temptation as implied by Jane’s idolatry of Rochester and willingness to yield to him. Still, Jane’s religious agency and morality allows her to resist, thus ensuring her a continued connection with God. Nevertheless, Jane retains her spiritual love that includes Christianity and allows her to accommodate her mortal desires. Jane is again tried when she learns of Bertha’s existence and is begged by Rochester to be his mistress, to which she denies by saying she “will keep the law given by God; sanctioned by man” (313). In the midst of this catastrophe she says, “One idea only still throbbed life-like within me—a remembrance of God” (293) and with a firm resolution she leaves Thornfield and Rochester, exulting “him who thus loved me I absolutely worshipped: and I must renounce love and idol” (312). Jane’s actions clearly demonstrate that she submits her will to God even when her whole being is at odds with her decision; and this is not simply indicative of a religious duty but also a morality that grounds her existence.
...ighting for acknowledgement in a society dominated by males. She, unlike her aunt, is not afraid to stand up to John, and is not bossed around by him. She is constantly fighting with him. Bronte uses this difference between Jane and the other women characters to create the picture in her reader’s mind, that women who display the behaviors of the classical Victorian female are bad, and that the women who show independence and individuality are good.