Essay The Storms of Villette

At first, Lucy is described as a beautiful woman who complains to Mina about how she got three proposals from three different men. “Why can’t they let a girl marry three different men, or as many as want her, and save all this trouble? (Stoker 96)“. She doesn’t want to hurt anyone by not accepting their proposals. Likewise, this shows that Lucy is a caring person. Nobody would ever expect her to do any harm to another person. “I suppose that we women are such cowards that we think a man will save us from fears, and we marry them (Stoker 61)”. By saying this, Lucy is accepting her role in society. She is not confident in herself and thinks that she needs a man to protect her in life.

George Emerson, like his father, believes that emotions, not social standing, should control actions. He loves Lucy for all her faults and recognizes her independence. He asks her to "let [herself] go. Pull out from the depths those thoughts that [she does] not understand, and spread them out in the sunlight and know the meaning of them (Forster 29)." He reminds Lucy that Cecil is influencing her decisions and that she “[listens] to his voice instead of to [her] own (Forster 159)."

Charlotte Bronte’s novel Jane Eyre incorporates vibrant descriptions of nature and weather, which intertwine literally and metaphorically throughout the novel to reflect the protagonist’s state of mind. Furthermore, Bronte’s meticulous description of everyday objects and experiences provide a world that is both real and tangible to the reader. The novel defies the expectations of social-class, and gender, and transcends various literary genres, while the setting purposely enhances the characters inner feelings and emotions meritoriously, allowing more freedom for commentary, and the expression of taboo topics than solely through the dialogue of the characters.

Kate Chopin implies in the selection, "The Storm" that the setting and the plot reinforces each character's action, but only two characters exemplify the title itself, Calixta and Alcee. The storm becomes the central element of Alcee's unrequited love for Calixta and ultimately the instrument of their forbidden love to each other. Hurston concurs in the "The Storm" that a forbidden relationship can become a cancerous love and silent death sentence.

At the headquarters of the Louisiana National Guard, located in the lower 9th ward, the soldiers were not yet aware that the canal levees were giving way. The Guard’s commander

Throughout Charlotte Brontë’s novel, Jane Eyre is afflicted with the feud between her moral values, and the way society perceives these notions. Jane ultimately obtains her happy ending, and Brontë’s shrewd denouement of St. John’s fate juxtaposes Jane’s blissful future with St. John’s tragic course of action. When Jane ends up at the Moor House, she is able to discover a nexus of love and family, and by doing so, she no longer feels fettered to Rochester. Moreover, Rochester is no longer Jane’s only form of psychological escape, and thus Jane is in a position to return to him without an aura of discontent. At the end of the novel, Jane is finally able to be irrevocably “blest beyond what language can express” (Brontë 459) because she is “absolutely bone of his bone, and flesh of his flesh” (459).

To provide a significant understanding of their work, a composer will progressively develop particular aspects in order to produce an unequivocal conclusion. In her novel, “Jane Eyre,” published in 1847, Charlotte Brontë establishes her course of action through various literary techniques collectively for her audience. The ideas of the romantic era, such as social stratification, the significance of religion and exclusion and social isolation are explored to convey Brontë’s main purpose. Due to the elegant composure and integrity of the novel, the chronological compilation of specific textual facets culminates through a notably distinct ending.

In Kate Chopin’s story “The Storm” it talks about love and lust. It speaks of two kind of storm that occurs. These two storms I find to be the central part of the story, and is being represented as a symbol within the story. The first storm is the most obvious one that Bibi and Bobinot are faced with. The second storm isn’t that visible for it involves Calixta and Alcee. Just as like most storms they come and pass.

“My! what a rain? It’s good two years sence it rain’ like that.” Exclaimed Calixta as she rolled up a piece of bagging and Alcee helped her to thrust it beneath the cracks.” The author showed us how the storm became a positive thing by bringing the two lovers together after a long period. Due to heavy downpour, fate brought Alcee into the home of Calixta, where the two lovers re-ignited their feelings for each other. It also acted as a barrier by keeping Bobinot and Bibi away from home. This reminded me of “The Story Of an Hour”, where the death of Mr. Mallard gave Ms. Mallard a spirit of freedom she had never experienced. Instead of being sad, Ms. Mallard continued to say the words, “Free, free, free!”

Many themes are brought into the readers' attention in Charlotte Brontë's Jane Eyre and when first reading the novel, we all tend to see it as a work built around the theme of family and Jane's continuous search for home and acceptance. The love story seems to fall into second place and I believe that the special relationship between Jane and Mr. Rochester needs to be thoroughly discussed and interpreted, because it holds many captivating elements, such as mystery, passion or even betrayal. The aim of this essay is to analyze the love story between the two protagonists and to illustrate how the elements forming their relationship resemble the ones in fairy tales. Jane Eyre has been often compared to fairy tales such as

Jane Eyre, often interpreted as a bildungsroman, or a coming-of-age story, goes further than the traditional “happy ending,” commonly represented by getting married. Instead, the novel continues beyond this romantic expectation to tell full the story of Jane’s life, revealing her continual dissatisfaction with conventional expectations of her social era; as a result, many literary critics have taken it upon themselves to interpret this novel as a critique of the rigid class system present in 19th century Victorian society. One literary critic in particular, Chris R. Vanden Bossche, analyzes Charlotte Brontë’s Jane Eyre through a Marxist lens, asserting the importance of class structure and social ideology as historical context and attributing this to the shaping of the novel as a whole. This approach of analysis properly addresses Brontë’s purposeful contrast of submission and rebellion used to emphasize Jane’s determined will for recognition as an equal individual.

Charlotte Bronte’s “Jane Eyre” has captivated readers for generations. As with all coming of age novels, young adults can relate to the struggles and triumphs of Jane. Jane’s setting influences and parallel her emotions. A reader can see the novel through her eyes and perspective. In Bronte’s “Jane Eyre,” the location often parallels Jane’s emotional growth through the tone presented by the environment, resulting in the different places she lives revealing her journey through depression. Jane’s behavioral patterns and thoughts suggest clinical depression that affected her choices throughout the novel and her life at Gateshead, Lowood, Thornfield, Marsh End, and Ferdean.

The final chapter’s of Bronte’s Jane Eyre have been a subject of discussion since it’s first publication. Many say the the ending does not fit and other argue that it does. There is a lot of evidence pointing to the latter. The conclusion reveals the fate of Mr. Rochester and Jane, Adele, and of St. John. All of the endings, a mixture of both happy and tragic, to fit with the entire story and can explained because of the Victorian era. This essay will argue that the conclusion of this novel, more specifically that Jane does go back to Mr. Rochester, is extremely fitting to both the plot and the essence of the novel.

Clarke explores the similarities and importance of Brontë’s use of the Grimms’ version of Cinderella within the story of Jane Eyre. She outlines how the two stories are parallel and then skillfully explores the symbolism that is present in both. Through her analysis of the ways the two stories are similar, Clarke concludes that the combination of the Grimms’ Cinderella within Jane Eyre allowed Brontë to critique and explore societal views and treatment of women as well as question and suggest alternative religious views such as those of a maternalist system.

Charlotte Bronte’s Jane Eyre emerges with a unique voice in the Victorian period for the work posits itself as a sentimental novel; however, it deliberately becomes unable to fulfill the genre, and then, it creates an altogether divergent novel that demonstrates its superiority by adding depth of structure in narration and character portrayal. Joan D. Peters’ essay, Finding a Voice: Towards a Woman’s Discourse of Dialogue in the Narration of Jane Eyre positions Gerard Genette’s theory of convergence, which is that the movement of the fiction towards a confluence of protagonist and narrator, is limited as the argument does not fully flesh out the parodies that Charlotte Bronte incorporates into her work. I will argue that in the novel