The Window In Jane Eyre

From the opening chapter of Charlotte Brontë’s Jane Eyre the reader becomes aware of the powerful role that art plays. There is something extraordinary about the pictures Jane admires from other artists, as well as the work she creates herself. Her solitary pastime often operates as an outlet of pain, either past or present, and offers her the opportunity to deal with unpleasant emotions and memories. Jane’s art transcends her isolation by bringing her into contact with others who see it; it functions as a bridge between her desire to be alone and her need for companionship. Despite her struggles with inner conflict and the people in her life, Jane’s art helps her find personal power, marking her true

We first see Jane; vulnerable and lonely at Gateshead, where the orphaned little girl resides with her bitter widowed aunt and her children. Jane is sent to the ‘Red Room’ for retaliating when her

She has no connection with any of the Reeds, and therefore she finds refuge in the secluded seat, a place where she can escape from the tortures of the Reeds, and become transported into a world all her own. Furthermore, for Jane the window seat is a form of tranquility the idea of flying above the toils of everyday life appeals to her, much more than taking abuse from John Reed, the oldest of the Reed children, and Mrs. Reed. Through the images of isolated seafowl in Bewick’s book and the "solitary" window seat we are able to see the loneliness that encompasses Jane while at Gateshead, and her longing to be separated from the Reeds.

As a young girl, she is essentially trapped in Gateshead. This sprawling house is almost her whole world. Jane has been here for most of her ten years. Her life as a child is

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.

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.

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 begin, the opening scene shows Jane in a desperate flight from Thornfield Hall, dashing frantically across the stormy landscape. For the viewers who have not read Jane Eyre, the cinematic dark tone of the opening scene raises many questions: Why is Jane running? Why is she crying? What happened to her? As she continues to run, the scenery of 19th century-England emerges on the screen, showcased by the precise selections from the film’s cinematographer. The film presents Jane’s world as dark,

As author Charlotte Bronte pens Jane Eyre, Bronte manipulates the readers emotions through diction and imagery. These tools make the reader bring sympathy towards the protagonist, as if she were confined or imprisoned. As the main character goes to her place or retirement, she does not walk or strut in, but rather slips in. This demonstrates the author application in diction or word choice.

Jane begins her life in isolation at Gateshead, abused and misunderstood by her Aunt Reed and cousins. She is constantly reminded of her worthlessness to them and the fact that they view her as a burden, and is literally

Jane would not like to be poor as poverty is looked down upon and equivalent to being an immoral and degraded human being. For Jane to be a respectable woman in society she must remain with the Reeds. John acknowledges Jane’s dependency: “You have no business to take our books; you are a dependent, momma says; you have no money; your father left you none; you ought to beg and not to live here with gentleman's children like us, and eat the same meals we do, and wear clothes at out mamma’s expense (14).” Jane is continuously reminded of her inferior position at Gateshead and powerless dependency to people that do not even love her. At this early age Jane has already been integrated into Victorian society as negative notions about the poor have been internalized. Born the daughter of a poor clergyman, Jane is believed to be of lesser value than the Reeds; however, she has passionate tendencies and is unable to control her emotions when necessary.When being abused by John and accusing him of being “like a murderer” (14) she is described as being a “picture of passion (15).” Jane must learn to temper her “fire” because untamed emotions have consequences. Her consequence comes when she is imprisoned in the red room, a visual representation of the intense emotions that have manifested in

While Jane’s time at Gateshead demonstrated her immense sadness, Jane’s time at Thornfield reveals her sadness through depression, as it begins to evolve into anger and an internal struggle. Her correlation with madness and anger begins to appear when she goes into the attic. She states “I climbed the three staircases, raised the trapdoor of the attic, and having reached the leads looked out afar over sequestered field and hill, and along the dim skyline- that then I longed” (Bronte 114). Jane is trapped inside herself. She longs to escape from her emotions and internal struggles, yet cannot. The attic, the abode of Mr. Rochester’s insane wife, houses Jane’s emotions. She climbs up to the attic and views the world beyond it. She

Although Bertha’s seclusion is a result of her insanity and unacceptable behaviour, Jane’s isolation seems to be the cause of some mental illness, throwing her into a panic attack in the red room where she believes her Uncle Reed’s ghost dwells. It must be noted, though, that Jane is a child at this point in the novel, with an active imagination. Bronte may be making a point then, that children should not be shunned for their inventiveness and imagination, as was so common in her day. However, there is a fine line, and socially acceptable age, that separates a healthy imagination from madness. There is a clear lack of this knowledge in Bertha, whom does not appear to have a firm grip on reality. Madness, however, does not merely deal with concepts of reality in “Jane Eyre.” Jane has bouts of uncontrollable speech, in which she must say what comes to her mind. Jane first loses control of her tongue in chapter IV, in which she accuses Mrs. Reed of wishing her dead, and later exclaims “I am not deceitful: if I were, I should say I loved you; but I declare, I do not love you: I dislike you the worst of anybody in the world except John Reed,” and goes on to evaluate the terrible treatment Mrs. Reed has given her, and the lack of love and compassion she has been shown while at Gateshead. In this instance, madness works in Jane’s favour. This temporary bout of mania allows Jane to finally express the

While at Gateshead, Jane is trapped by her relationship to the Reeds, which is reflected in the environment around her. At the beginning of Jane Eyre, Jane states that “there was no possibility of taking a walk that day” (Brontë 6). This beginning immediately puts Jane in her own bubble and exemplifies that she has no other form of positive interaction in her life. Initially, Jane is “[connected to] the natural environment, but also separate[d from it] with an unnatural boundary” (Fuller 152). Thus, this begins the recurring symbolism of how Victorian women were held back by gender roles in society. During her time at Gateshead, Jane is restrained by her