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1、You cant judge a book by its cover,but you can judge a book by its first sceneA critical literary analysis of Jane Eyre by Charlotte Bronte简爱文学评论“There was no possibility of a walk that day” (p. 7). In this simple sentence, Charlotte Bronte establishes the motif of entrapment and subsequent independ
2、ence that recurs throughout the novel Jane Eyre. In the first scene of the novel, the setting helps to shape Janes character. Jane introduces the first of numerous images of birds as she reads Bewicks History of Birds, and also the parallel imagery between humans and animals. Janes first articulatio
3、n foreshadows the plot of the novel, predominantly the persistent thread of her mobility. These literary elements, which have their foothold in the first scene of Jane Eyre, manifest broader themes throughout the novel. Janes first utterance establishes the space that she occupies throughout the nov
4、el: “There was no possibility of taking a walk that dayI was glad of it” (p. 7). Janes simple ascertaining of the fact she must remain inside the dreary, hostile Gateshead environment foreshadows her continued plight as a prisoner of personal and circumstantial constraints, and her endeavors to brea
5、k free from these constraints. Janes entrapment begins at Gateshead, where circumstances have placed her under the care of her cruel aunt. The inclement weather situates her inside the Gateshead library, enshrined in the window-seat: “Folds of scarlet drapery shut in my view to the right hand; to th
6、e left were the clear panes of glass, protecting, but not separating me from the drear November day” (p. 8). Here, although she is a prisoner within the house, she is also a captive of the fantasies of literature: They were those which treat of the haunts of sea-fowl; of the solitary rocks and promo
7、ntories by them only inhabited; of the coast of Norway, studded with isles from its southern extremity, the LindesnessEach picture told a story” (p. 8-9). Physically, she becomes a prisoner in the red room: “Take her away to the red-room, and lock her in there” (p. 12). This abuse is characteristic
8、of Mrs. Reeds general attitude towards Jane, continually preventing her from being a loved member of the family, instead maintaining her as a relative no better than a servant. Mrs. Reeds torment is a method of palpable entrapment. However, Janes entrapment, even as a child, is also emotional, for J
9、ane is continually trapped within other peoples perceptions of her. Jane is trapped within her familys opinion of her as a “bad animal” and a heterogeneous thing, opposed to them in temperament,in capacity, in propensities; a useless thing, incapable of serving their her aunt and cousins interest, o
10、r adding to their pleasure, a noxious thing (p. 116) Jane has no means of breaking free from her aunts negative opinion of her, and as long as she resides at Gateshead she is trapped within a seemingly vile personage. Jane struggles against this imprisonment when she later confronts her aunt. This s
11、aga of entrapment and subsequent confrontation extends throughout the novel, as Jane contests Mr. Rochesters depiction of her as a grand beauty, and St. Johns hopes for her as a missionarys wife. Before Jane has the means to escape physically from such cages, she escapes mentally by way of her uncle
12、s library. “I returned to my book- Bewicks History of British Birds with Bewick on my knee, I was then happy” (p. 8-9). As Jane returns to her book of birds, the story recurrently refers to images of birds. Jane parallels birds. At the simplest level, Janes name, Eyre, sounds like the medium that bu
13、oys up birds in flight. However, the bird image is also used to shed light on the contrasting personalities of Jane and Mr. Rochester. Jane is Mr. Rochesters sweet skylark: “Oh! You are indeed there, my sky-lark!I heard one of your kind an hour ago, singing high over the wood” (p. 463). Mr. Rocheste
14、r, on the other hand, is referred to as a bird of prey even before his blindness. Jane is caught by his “falcon-eye flashing, tenderness and passion in every lineament” (p. 286). When she finds him after the fire, the bird imagery once again dominates her description: I saw a change: that looked des
15、perate and brooding- that reminded me of some wronged and fettered wild-beast or bird, dangerous to approach in his sullen woe. The caged eagle, whose gold-ringed eyes cruelty has extinguished. (p. 454) As illustrated, the possibility of Jane and Mr. Rochester being united in marriage is about as un
16、likely as a falcon and sky-lark sharing a nest and feeding each other worms. The metaphor allows the reader to envision the oddity of such a couple. Mr. Rochester again uses bird imagery to illustrate his opinion, and furthermore, admiration, of Jane: “Childish and slender creature Jane! It seemed a
17、s if a linnet had hopped to my foot and proposed to bear me on its tiny wing” (p. 329). He sees in Jane a full heart, bearing great burdens, as evidenced by the mental image of a small fledgling endeavoring to support a massive beast. Still, he appreciates Janes efforts, and admires her determinatio
18、n. Bird imagery extends to Morton and later follows Jane to Ferndean. In this way, the first scene of the story introduces the notion of mobility, which symbolically manifests itself in bird-imagery and is used as an extended metaphor in novel. Predominant throughout the first scene, and likewise th
19、e entire book, is the equating of humans to animals. This animal imagery is introduced at the beginning of Janes narration. Specifically, Janes family “affectionately” refers to her in such animalistic terms. Her cousin, John Reed, refers to Jane as a “bad animal,” (p. 9) “mad cat” (p. 12), and “Rat
20、! Rat!” (p. 12). In this way, John is treating Jane as inferior being, much in the tradition of attitudes toward slave chattel. Jane notes this parallel, screaming at John, “Wicked and cruel boy! You are like a murderer- you are like a slave-driver- you are like the Roman emperors!” (p. 11). As with
21、 bird imagery, animal imagery is also evidenced throughout the novel. Mr. Rochesters entrance into Janes life is ushered in by the image of a Gytrash: I remembered certain of Bessies tales wherein figured a North-of-England spirit, called a Gytrash; which, in the form of horse, mule, or large dog, h
22、aunted solitary ways, and sometimes came upon belated 待添加的隐藏文字内容2travelers, as this horse was now coming upon me. (p. 117)In this way, Mr. Rochester and Jane are doubled as images of the “animal kingdom,” foreshadowing their future union. Another doubling via animal imagery is implemented in the par
23、allels between Jane and Bertha. John Reed introduces animal imagery in the opening of the story, and the image is continued in the following chapters of the novel.Janes initial reference to walking foreshadows the plot of the story that she narrates. Mobility forms the basis for Janes life experienc
24、es. Indeed, the setting of the novel shifts several times as Jane embarks on new journeys. She begins her story as a orphan, stuck in a home filled with disgust for her. Not long after the novel begins, Jane begins travelling, though not by foot, to her new life at Lowood. This travel becomes charac
25、teristic of the plot. Throughout the novel, Jane travels from Gateshead, to Lowood, on to Thornfield, escapes by foot to Morton, returns to Thornfield, to end up at Ferndean. This constant mobility is illustrated in “the restlessnessin Janes nature” (p. 114). Rarely does Jane occupy one solitary spa
26、ce. She is a wanderer, searching for liberty: “I Jane desired liberty; for liberty I gasped; for liberty I uttered a prayer” (p. 89). Her “sole relief is to walk” (p. 114), and Bronte makes this apparent in a mobile plot. Charlotte Bronte uses the first scene of Jane Eyre as a spring-board for integ
27、ral elements of the story. As Jane begins to reminisce about her childhood, beginning “that day” (p. 7), the reader is drawn into a plot rich with entrapment and Janes struggle to break free from physical and emotional chains. The space that Jane occupies in the opening scene, along with the introdu
28、ction of recurring images, and allusions to mobility suggested by Janes reference to a “walk” (p. 7) all suggest the motif of entrapment. Enmeshed within these elements are prevailing themes within the novel; Janes struggle against personal entrapment and also the cages that other characters force h
29、er into. The reader catches this thread of entrapment and revels with Jane as she fights oppression, introduced in the opening scene, and eventually gains the “liberty” that she has sought. _All references are found in Oxford World Classics 1993 edition of Jane Eyre, by Charlotte BronteYou cant judge a book by its cover, but you can judge a book by its first sceneA critical literary analysis of Jane Eyre by Charlotte BronteMarisa A. PtakEnglish 247: Dr. Zohreh Sullivan18 February, 2000
