Insanity In Jane Eyre And Wide Sargasso Sea

The powerful male roles, such as Edward Rochester, seen throughout the novel represent Great Britain, while the weaker female roles, such as Bertha Mason, represent the imperialized countries. In chapter 14 of Jane Eyre, Mr. Rochester demonstrates his assertive dominance to Jane when he asks, “Do you agree with me that I have a right to be a little masterful, abrupt, perhaps exacting, sometimes, on the grounds I stated, namely, that I am old enough to be your father, and that I have battled through a varied experience with many men of many nations, and roamed over half the globe” (Brontë 152). Rochester demonstrates the power of Great Britain here by claiming that he has the given right to take control and be the ruling figure just like Great Britain did to weaker countries. Bertha Mason parallels the countries being colonized because she is depicted as weak and someone who needs to be isolated and controlled. In "'Reader, I Buried Him': Apocalypse and Empire in Jane Eyre.", Tracy agrees that “many critics rightly place Bertha at the centre of the novel’s signifying systems, since social, cultural, imperial, and religious concerns are encoded in her relationship with Rochester”. This becomes evident in chapter 26 of Jane Eyre when Rochester is explaining Bertha’s character to Jane. Rochester states that “Bertha Mason is mad; she came of a mad family; - idiots and maniacs through three

   Jane Eyre, from Charlotte Bronte's Jane Eyre, and Antoinette Mason, from Jean Rhys' Wide Sargasso Sea, both depict very different creeds. While Bronte created Jane with a Christian background, Rhys has birthed Antoinette into a more primitive, confused faith. Analyzing each writer's description of the red room will reveal the religious nature of their characters.

The novel in which Jane Eyre stars in can be seen criticizing many aspects of those times such as the role and nature of women, child negligence and social hardships for those in a lesser class. Jane Eyre’s alienation from society allows for a greater reveal of the story’s culture, values, and assumptions. It’s presented through the use of gender, class and character conflicts throughout the story. On multiple occasions, Jane is judged for the presented factors reflecting the type of society Jane lives in and what the times were like at that time.

Violence is the most recurrent gothic convention used in Jane Eyre, which is prominent in Charlotte Brontë's effective development of the novel and the character of Jane Eyre, who, throughout this novel, is searching for a home in which she would have a sense of belonging and love which would ultimately resolve this exact unfulfilled need she had as a child. The neglect she experienced in her childhood is manifested in the way she is treated by her aunt, Mrs. Reed, as in the first page of the novel Jane Eyre admits: ‘Me, she had dispensed from joining the group, saying, 'She regretted to be under the necessity of keeping me at a distance’’. This opening shows how there is a clear line of separation drawn between Jane and her relatives due to her complicated family background which consequently results in their reluctance to accept her into their environment. These complications lead to her maltreatment, which also adds on to the violence she experiences acting as a catalyst for the development of the character and her subconscious quest.

Through a close reading of the selected passage of Charlotte Brontë’s Jane Eyre: An Autobiography, a reader can see that Jane attempts to separate herself from her decisions by personifying her emotions and giving them a specific voice, which strongly reflects the societal views of the time. At this point in the story, Jane has discovered, on her wedding day, that Mr. Rochester is still married to a woman named Bertha, and that woman still lives in his house. Distraught, Jane locks herself in her room and tries to decide what she should do. When she wakes up the next day, she is again confronted with what she needs to do in the wake of her discovery.

In the novel Wide Sargasso Sea by Jean Rhys, Antoinette Mason’s identity is frequently discussed. Antoinette, the daughter of ex-slave owners and a woman whose life is dictated by mental illness, grows up in the Caribbean as a Creole during the nineteenth century. As a young adult, she is forced into a marriage with a white man from England, an event that ultimately leads Antoinette to her downfall. At the start of the novel, Antoinette and the characters around her are optimistic about their identity and future. As the plot progresses, Antoinette increasingly struggles to understand who she is and what her future entails. Ultimately, Antoinette loses her identity and her purpose. Throughout the text there are many reoccurring motifs. A motif

Throughout the novel of ‘Jane Eyre’ a colonialism and isolation are reflected throughout the novel, mainly through the treatment of Bertha Mason in Jane Eyre as she is cruelly locked in the attic due to her husband, Mr Rochester deeming her as insane. Bertha is described in a demon like manner whereas Jane represents a rebellious young woman who can be closely linked to a modern woman with the values and independence the contemporary readers possess. Jane does not represent any of the desired values by Victorians as Jane stands up to Rochester and acts as his equal rather than his lesser half. The presentation of Bertha being demonic was also highlighted by Solomon as she ‘represent[s] the flames of hell fire’¹ showing the devilish manner Bertha is presented in and the mistreatment of her as an individual, however, it also shows the historical views towards the mentally ill as Bertha isn’t seen to have a sickness but rather she is possessed. Fire is also associated with heat like Bertha as she is aligned with the ‘hot’ West Indies. Bertha is seen as villain as she constantly jeopardises Jane and Rochester’s future, however she can be seem to catalyse Janes personal development and self-awareness due to the positions Jane is left in due to Berthas presence.

Authors, Jean Rhys and Charlotte Bronte constructed their novels in completely different time periods and came from different influences in writing. Jean Rhys’s fiction book, Wide Sargasso Sea is an interesting relation to Jane Eyre. The female character of Jane Eyre forms into a furiously, passionate, independent young woman. The female character of Jean Rhys’s illustration is a character that Jane will know further on as Rochester’s crazy wife who is bolted in an attic. Jean Rhys further studies this character, where as Charlotte Bronte approved that it was left explained (Thorpe 175). Antoinette, considerably like Jane, evolves in a world with minimal amount of love to offer. Both these women are taken cared of as children by

The theme of isolation is explored in Bronte’s novel; Jane Eyre. This theme is also developed in The Wide Sargasso Sea, by Jean Rhys. Both pieces present different types of isolation, such as isolation due to location and the isolation of a character due to their social status, such as Jane’s status as a governess. The various ways in which isolation is present in each of the texts show how inescapable and unavoidable isolation is for the characters in both Jane Eyre and The Wide Sargasso, with it being present in such a large way in their lives.

“Jane Eyre” is a book centred around female duality. In a time when females were still expected to fulfill their “womanly duties,” Charlotte Bronte wrote a novel dealing with a woman’s view on morality & sexuality, passion & sensibility, and conformity & insanity, among other themes. This motif of duality plays a strong part in the dynamism that makes up the book, and is not limited to the themes, but is also used to relate many of the characters to the titular Jane. In “The Mystery at Thornfield,” Valerie Beattie makes claims that the character Bertha Mason’s insanity is a representation of rebellion toward the limitations of Victorian women. Not only is

   Jean Rhys' complex text, Wide Sargasso Sea, came about as an attempt to re-invent an 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 the assumptions made by the Victorian text.  She does so with startling results.

Wide Sargasso Sea was Jean Rhys’s effort to retell and complicate the unresolved character of Bertha Mason, the “lunatic creole” presented to us in Charlotte Bronte’s classic novel, Jane Eyre. Bronte’s Jane Eyre was one of the first feminist critiques of the Victorian era. It scandalised and shocked society by presenting the reader with an independent woman who defied societal ideals of self-control. Through her depiction of Antoinette in Wide Sargasso Sea Rhys responds to Bronte’s feminist stance through a post-colonial lens 119 years later. Both novels are feminist works, however each author approaches feminist concerns in a manner

With an attempt to distinguish between the old and the new, Charlotte Bronte creates the character of Bertha Mason as the exhibition of female repression and desire frequently found in the East. Bertha Rochester is the emblem of Eastern society, one which the British see as static and barbaric, and Jane Eyre is representative of the Western Civilization. In Reaches of Empire, Suvendrini Perera argues that "if the barely human prisoner caged in the Thornfield attic is the truest expression of women's anger and aspiration . . . [it is overlooked] that she is also the racial Other incarnate - a bestial, violent creature with an inordinate sexual appetite, caught in the colonized West Indies and confined 'for her own good' by a master who has appropriated both her body and her wealth" (82). If the reader only sees Bertha as the surrogate of Jane, one neglects to take note of the enriching importance of the text's suppression of Bertha. Charlotte Bronte presents Bertha as a sexually vigorous woman. This can be seen when Rochester indirectly describes

In Charlotte Bronte’s Jane Eyre, the character Bertha Mason is a manifestation of the feelings that Jane cannot express, and thus acts as an alter ego. Every time Bertha acts, it is predicated by a strong emotion or what should have been a strong emotion on Jane’s part. In the Victorian Era, women were expected to follow strict rules and isolate themselves from the outside world. In order to be the “angel in the house,” women were expected to obey and not question their fathers and husbands. Societal expectations dictate that Jane cannot show the full extent of her emotions, particularly when Mr. Rochester is involved. As a result, she does not do so, and they come out in the form of Bertha Mason. Throughout the novel, some sort of action by Bertha closely follows Jane’s musings on her frustrations, her discontent, or her anger. When Jane recognizes her emotions, Bertha’s expression is mild. However, Jane fails to recognize fully her emotions in multiple cases and Bertha responds violently. Because Bertha represents emotions that Jane possesses but represses in order to meet societal expectations, Bertha and these emotions must be removed before she can marry Mr. Rochester. Therefore, Bertha is a key character because she represents an important aspect of Jane and prevents Jane from fulfilling societal expectations.

Bertha Mason, although a minor character in Charlotte Bronte’s Jane Eyre , played a crucial role in the love story between Jane and Rochester and gives a deeper understanding of how mentally impaired people were treated at the time. She is necessary to Jane and Rochester’s imminent marriage and her actions lead the two to reconcile. Her motives and the causes for behavior are unclear, besides her obvious jealousy towards Jane and betrayal she felt from Rochester. Not only that, but Bertha also symbolizes everything Jane is not, mirroring her in a way as a polar opposite.