The Metamorphosis of Bertha in Katherine Mansfield’s Bliss Katherine Mansfield’s “Bliss” is quite an interesting story full of underlying meanings and themes. Upon a first reading, it seems to be a simple story of a woman who feels uncontainable bliss one day, only to have it end when she discovers her husband is having an affair. Although this is a correct interpretation, after a second reading, much more is apparent. “Bliss” is a story of the revelation of a vibrant young woman, of criticism
Bertha as Jane's Alter Ego in Jane Eyre "I resisted all the way," (chapter 2) Jane says as she is borne away to be locked in the red-room of Gateshead, where she will experience a fit of rage that inevitably arises from her physical and emotional entrapment. Jane evinces her refusal to accept passively restrictive male standards as well as the female predilection towards anger early in the novel. That night in the red-room, Jane experiences a vehement anger that she describes as "oppressed"
Reactions to Patriarchal Oppression by Jane Eyre and Bertha Mason Missing Works Cited Jane Eyre and Bertha Mason are both oppressed by the British patriarchal system were men are the makers, interpreters, and enforcers of social and political rules. However, these two women differ greatly in the ways that they accept and cope with the reality of their place in society, and it is these differences that ultimately determine their fate. Jane Eyre follows the rules. Although she initially revolts
and her characteristics are manifested through several subtle parallels. These parallels relate to objects and nature, but mostly to one particular individual in the novel. A seemingly exact opposite of the persona's placid character, the maniacal Bertha Mason actually personifies an inner part of Jane, the part of her personality that longs to live free but goes crazy under the oppression of society, and especially that of Mr. Rochester. Jane's doppelgänger, or counterpart, truly doubles Miss Eyre's
relationship between sexuality and morality in Victorian society through the character of Bertha Mason, the daughter of a West Indian planter and Rochester's first wife. Rochester recklessly married Bertha in his youth, and when it was discovered shortly after the marriage that Bertha was sexually promiscuous, Rochester locked her away. Bertha is called a "maniac" and is characterized as insane. Confining Bertha for her display of excess passion reinforces a prevalent theme in Jane Eyre, that of
possibility of another side to Jane Eyre. The story of Bertha, the first Mrs Rochester, Wide Sargasso Sea is not only a brilliant deconstruction of Brontë's legacy, but is also a damning history of colonialism in the Caribbean. The story is set just after the emancipation of the slaves, in that uneasy time when racial relations in the Caribbean were at their most strained. Antoinette (Rhys renames her and has Rochester impose the name of Bertha on her when their relationship dissolves) is descended
from a source of passionate love, not of vengeance, and the possibility of being consumed by it is as seductive as it is terrifying" (128). Jane thus creates fire and uses this ... ... middle of paper ... ...'s eyes. Through the destruction of Bertha, Jane is able to come to terms with her idea of self-consuming passion. Berth's death was the liberating factor for Jane. It was the release of the suppressed passions that were dwelling inside her. The fires that Jane speaks after the reuniting of
identity for Rochester's mad wife, Bertha Mason, in Jane Eyre, as Rhys felt that Bronte had totally misrepresented Creole women and the West Indies: 'why should she think Creole women are lunatics and all that? What a shame to make Rochester's wife, Bertha, the awful madwoman, and I immediately thought I'd write a story as it might really have been.' (Jean Rhys: the West Indian Novels, p144). It is clear that Rhys wanted to reclaim a voice and a subjectivity for Bertha, the silenced Creole, and to subvert
obstacles and has grown into one of the élite intellectual people of this country, and perhaps the world. Along her numerous struggles, various people have given her positive guidance and passed down their knowledge to her. Among these people was Mrs. Bertha Flowers, a person in which Maya respected greatly. She was a dignified person that Maya could strive to achieve the gratitude that Mrs. Flowers gave to the people around her, a sense of appreciation. In her life story, I Know Why the Caged Bird Sings
Jane Eyre - Woman as Demon Missing Works Cited Women in Victorian literature often came to be seen as "the other" or in more direct terms, as somehow demonized. This is certainly true in Jane Eyre. Bertha Mason, Rochester's mad wife, is the epitome of the demon in the attic. By virtue of being the first wife she is in continually compared to Jane. Although there are parallels in plot and language between the two women, they are completely different people. In addition, Bronte also depicts other
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
woman named Bertha, whom he confines on the third floor in Thornfield Hall. Although Bertha remains mute for the entirety of the novel, her defiant presence threatens Jane’s happiness. In Jane Eyre, Bertha Mason is introduced as the alter-ego of Jane as seen through the contrast between their physical descriptions, relationship with Mr. Rochester, and
80). With the use of the custom of Sati, Charlotte Bronte writes a novel which coveys the contrast between the east and the west, the old and the new, revealed sexuality and repressed sexuality. The two characters, Jane and Bertha, each represent a different region; while Bertha represents the East and the ancient, Jane represents the new and the modern. Dorothy K. Stein finds that Sati was a motif used for feminist discussions in Victorian England: [Sati] did not occur in England, but many manifestations
these novels is the use of the “double” or “second self”. This is a literary mean “to represent hidden or repressed aspects of the main character’s identity” . Bertha Mason is presented through the eyes of Jane and Rochester. She has no voice of her own unlike Jane, she is hidden in the text in the same way she is hidden in the attic. Bertha chooses to enter the story in the darkness planning to burn Rochester in his bed to rip Jane’s veil and to set fire on Thornfield and then to commit suicide. Jane
that he "feigned courtship with Miss Ingram" (261; ch.24). Rochester deceives Blanche into believing his intent was marriage; yet she was merely a pawn in his romantic conquest of Jane. The whole time Rochester pursues Jane he is already married to Bertha. Rochester hides his marriage in an attempt to find his definition of a more suitable wife. He t... ... middle of paper ... ...tion. In the creation of her hero, Edward Rochester, Charlotte Bronte resurrected the Restoration rake. Rochester
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
spending, and his lascivious behavior. Another Roman reference occurs much later in the novel. When Rochester is describing the terrible time he went through in finding a wife, he makes a reference to Messalina. The reference alludes to the type of wife Bertha was, and insinuates she was promiscuous. The easily glanced over allusions tell a great deal about the characters they refer to. The first Roman allusion occurs in chapter one, during Jane’s confrontation with John Reed. After catching her reading
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
green valleys that imply potential cohabitants, Bertha claims, “my loneliness and helplessness no longer frightened me” and she is “joyfully surprised” (34) to see the old woman. Bertha overcomes the pains of isolation by living with the old woman; however, this relationship soon falls apart and Bertha once again runs away. Bertha voyages “amid tears and sobs” (39) and stumbles back upon her home town. After finding out her parents had passed away, Bertha “drew back quickly and left the village ...
live together. The idea of a strictly physical love is shown briefly through Mellors and his marriage to his first wife. Though the two had a stable marriage based on physical love, it eventually deteriorated to the point of them living separately. Bertha re... ... middle of paper ... ...between sex and love. Limiting and censoring books in just a way for some to keep others ignorant. Works Cited 1. Bloom, Harold (Editor), Twentieth-Century British Literature Volume 3. Chelsea House: