DiV chapter one...

Not much really happens in this chapter, its mainly an opening to the book, describing the main character ( Gustav von Aschenbach) and his state of mind. All that actually happens is that he sees a strange looking man, with red hair, outside a chapel. Nothing really comes of this encounter, they just seem to stare warily at eachother for a bit, and then wander off. Seemingly almost as a result of this, Aschenbach seems to start to feel a wanderlust, and decides to go anyway for a while, nowhere far, just for a bit of a break.

Characters

Gustav von Aschenbach is the only real chacter in the short story, and everything is seen from his point of view, although not narrated by him. Hes fifty +, and is a writer. He seems to be a very unimpulsive person, thinking everything through very carefully before acting, and considering his actions and why he feels he must do them

Themes

Is hard to find any themes from the first chapter, as im not entirely sure what is mentioned later on, but the Red haired man seems to be important, as does travel. The focus seems to be very much on description, of both places and people. Race seems to be emphasised a bit as well.

Extra things

I dont really like the starrt of this book. at all. Its far too much like hard work, and is a struggle to read, due to the huge amounts of description and general lack of plotline. It doesnt seem to go anywhere, at all, is a very heavy book. It just seems to ramble, and go round in circles too much for my liking

review

The unbearable lightness of being is a truly brilliant book, written by Milan Kundera, illustrating many different themes and story lines all at once, following stories of love, political intrigue, betrayal and philosophical thoughts. Based around the time of the Prague spring and its aftermath, the unbearable lightness of being focuses on the lives of four people, Tomas, Tereza, Franz and Sabina, their lives linked by both people, ideas, and their take on the world. The book itself, although confusing in places, manages to create an eerie sense of disembodiment from the story and the characters, you find it easier to remember disjoined images and ideas, rather than the names of the characters and the order of events.

The events of the novel take place during and after the Russian occupation of Czechoslovakia, and follows the lives of the four main characters, and their experiences through this. However, the actual reason for the novels existence doesn’t seem to be to tell a story, but rather to demonstrate the philosophical ideas that Kundera wishes to put across. Because of this, many times you feel yourself dragged away from the lives of Tomas, Tereza and the rest, into the ramblings of Kundera, and his take on philosophers such as Paremenides and Nietzsche. Kunderas interaction with the reader is quite interesting, bringing in a personal touch to the book, and making it seem more like a conversation at points than a normal story. Kundera even acknowledges that the characters in his stories aren’t real, but more devices to help him show the reader how lightness and weight affect peoples lives, and how hard it is to truly decide which is better. As well as this perplexing issue, Kundera also raises questions on love, lust, sex and religion, along with other themes that are relevant to many readers, wherever they are.

The novel opens with a puzzling page or so, starting with “The idea of eternal return is a mysterious one, and Nietzsche has often perplexed other philosophers with it: to think that everything recurs as we once experienced it, and that the recurrence itself recurs ad infinitum! What does this mad myth signify? Putting it negatively, the myth of eternal return states that a life which disappears once and for all, which does not return, is like a shadow, without weight, dead in advance, and whether it was horrible, beautiful, or sublime, its horror, sublimity, and beauty mean nothing” This is a good warning for what is yet to come in the book, jumping in and out of reality and fantasy or ramblings, although which is which you can never be certain. Another good example, that brings out the flavour of the book, is where Tereza decides to go visit Sabina, Tomas’ mistress, at the place she works. “ The camera served Tereza as both a mechanical eye through which to observe Tomas’ mistress and a veil by which to conceal her face from her. It took Sabina some time before she could bring herself to slip out of the robe entirely. The situations she found herself in was proving a bit more difficult that she had expected. After several minutes of posing, she went up to Tereza and said “now its my turn to take your picture. Strip!” Sabina had heard the command ”Strip!” so many times from Tomas that it was engraved in her memory. Thus Tomas’ mistress had just given Tomas’ command to Tomas’ wife. The two women were joined by some magic word. That was Tomas’ way of unexpectedly turning and innocent conversation with a woman into an erotic situation.”

Not a light book itself, the unbearable lightness of being is more of a book that needs a serious commitment to be read, as it is hard to follow at some points, but, overall, is a brilliant book, that really makes you think about how you live your life, and whether or not you are light, heavy, or a combination of the two. A tale of opposites, extremes, and a great read once you get into it.

tULoB part six - the grand march...

The first few chapters of part six are mainly philosophical, and are from the writers point of view, talking and arguing about God, his intestines, and shit. From here Kundera moves on to Kitsch, and Sabinas views of it. It follows Sabina’s life after Franz, and how her life is still surrounded by kitsch, and also how she’s still affected by here past in Prague, and the events that took places there. Now in America, she lives with an elderly couple, who consider her like a daughter to them, but she contemplates if she is with them due to the kitsch-ness of it, and whether or not she has been craving for this all the time she has been running and scorning kitsch. Franz’ interpretation of Kitsch is slightly different, as he is more familiar to totalitarian kitsch, such as the kitsch he experiences whilst on the grand march. The grand march takes place in Cambodia, where the doctors and intellectuals march on the borders, wanting to be let in to help the wounded. However, the Americans and the European countries seem to clash over this, as the American celebrities try to use the march as a publicity stunt, and try to turn the march into a battle against communism rather than an attempt to tend to the people affected by it. However, the march is not successful, and is halted at the border by a wall of silence, a group of doctors, intellectuals, celebrities and paparazzi all stood waiting to be let in, yet no reply to their challenge was ever given. On the way back, the bus stops in Bangkok, and Franz, in an attempt to prove himself brave to the Sabina, whom he still believes is watching over him, takes on a group of men, who end up mugging him and beating him unconscious. Once he awakes, he finds himself in a hospital bed, with Marie-Claude at his side. When he tells her to go away, however, he finds himself paralysed, unable to move except his eyelids. Now he was completely in Marie-Claude’s control. Franz dies, and Marie-Claude completely arranges his funeral, and seems to forgive him for leaving her, and twists all his actions into things that make him sound like a good person, if not slightly depressed. The part ends with the reader being told that “before we are forgotten, we become kitsch”. Death is kitsch.
Themes

• kitsch
• God and religion
• shame
• creation
• shit
• parades
• happiness
• reality vs dreaming
• politians and the public eye
• death
• freedom
• lightness and weight
• a need to be seen
• dreamers
• misinterpretations of words and actions

Characters

• Sabina, now having moved on from Franz, is still living in fear and resentment of kitsch, despite the fact that her life at the moment is still very kitsch, as she herself admits. She finds that although she ran away from her home and the history there, she still cannot escape it, for example, the smile of a polititian reminds her of the smiles on a communist statemans face, when he surveyed all the faces standing below him. Sabina finds that Simon, Tomas' son, is still trying to keep in contact with her, and although she leaves most of the letters unread, he keeps writing till the end of her life. Sabinas wish for when she dies is that shes cremated, and her ashes scattered, so she can remain free and unburdened even in death
• Franz still seems to conect all his thoughts and actions to what Sabina would think of them, depsite the fact that she left him a long time ago, and that hes now living with a new mistress, a shy girl with big glasses. At first, when asked if he wants to participate in the march, he wishes to, but doesnt because he knows it will hurt his mistress. However, once he remembers Sabina, he believes that she would think him cowardly for not going, and so he decides to, showing that he still places her above all others. Franz seems to become heavier and heavier throughout this part, and once at the gates of the border to Cambodia, he even considers dieing as Stalins son did, laying down his live to make a statement. But he decides not to, and instead ends up dieing due to his mugging in Bangkok, again because by taking on the three men, he thought he was doing what Sabina would want him to do.

Other thoughts

What does Kundera have against the Americans? they dont seem to be show in a very good light throughout this part. Also, it seems at this point that Kundera is still undecided about which is better, lightness of weight, as everyone seems to be unhappy with life at the moment

tULoB part five - lightness and weight

The focus is mainly on Tomas in this part of the novel

Tomas is asked to sign a statement retracting his published work about Oedipus, and, when he refuses on the basis that he doesn’t want to lose his colleagues respect, he is sacked, and eventually ends up as a window washer. Even as a window washer though, he is treated differently, people request him specially because they know that really he should be a doctor, and he gets called out often to places when the people there don’t want their windows washed, they just want to show their support for the headstrong doctor. He starts to use his window washing job as another way to meet new women and mistresses. One day Tomas is called out to a house, and finds his son and the editor with the big chin inside. They ask for Tomas’ signature on a petition asking for the better treatment of political prisoners. He eventually refuses, to the disappointment of the others, but it turns out to be a good thing, as the names of the people who did sign are published in the paper, along with slanderous attacks on them. Tomas starts to realise that he is tired, mentally and physically, and that he cant “be on holiday” forever, as this is what the window washing was to him. Only now, eighteen chapters into the part, does Tereza come in again, which I guess shows how far apart they’ve grown. She is having another of her nightmares, this time where she is buried and dead, and Tomas comes to visit her occasionally, but she knows her is cheating on her, and loses sleep over it, thus making her dead body even more unattractive to him. This is the first time Tomas expresses his feelings for Tereza in a clear way, at least to me, when it says “Yes, that is death: Tereza asleep, having terrible nightmares, and he unable to wake her.”, which shows that he does care, a lot. Time passes, and soon Tomas finds that his novelty as a window cleaning doctor has worn off, people no longer wish to be reminded of what happened to him. He starts to get stressed, and his stomach starts acting up on him, one night he finds he’s run out of medication, and he has to go without. When Tereza comes home and finds out that this has happened, she starts talking to him to keep his mind off the pain, and suggests that they move to the country. Tomas then asks Tereza what’s wrong with her, and why she’s acting so distantly from him, and she finally tells him how she’s had to put up with the smell of other women in his hair every night for a long time now. After this, Tomas starts to wonder why sex and love are linked, as it seems to him to cause so many problems. They decide to move to the country, which is sort of showing how much Tomas does love Tereza, as he’s willing to give up his affairs and mistresses for the sake of Tereza’s happiness, and possible sanity.

Themes

• Repression/suppression
  
• Status
  
• Oedipus
  
• Words and their meaning and power
  
• Philosophy
  
• Dreams, both Tereza’s and Tomas’
  
• Love and sex
  
• Politics
  
• Contrasts and opposites
  
• Self image, and how people perceive others
  
• Death
  
• Senses
  

Characters

• Tomas is the main focus of this part, and the reader follows his new life as a window cleaner. He sees his current occupation as a window washer as just a holiday, as it’s not his real calling, he still thinks of himself as a surgeon. Tomas is both heavy and light in this section of the book, he still acts quite carefree, flitting from one woman to another, and not seeming to care too much about his job lose. But, on the other hand, towards the end of the part he seems to start getting stressed and down, and his worry for Tereza shows a heavy side to his personality that hasn’t been seen by the reader before. I was also unsure if Tomas’ decisions not to sign the petition or retract his statement count as heavy or light, as both have features that show both lightness and heaviness.
  
  
• Tereza does not feature much in this section of the book showing how far apart she and Tomas have grown. Part four sums up how she feels about the things happening at this time of the novel, but there are some things mentioned here that weren’t before, perhaps showing that she either doesn’t want to remember of them, or she doesn’t find them important. An example of this is the dream she, where she is dead and buried, and although Tomas still comes and visits her, and tries to make her see, she still knows that he is with another woman, and therefore she doesn’t feel good enough. Does this dream mean that Tereza feels dead, to herself or Tomas, or perhaps both, I’m not entirely certain. Is she scared of death, or would she welcome it?
  

Extra things

Reading this raised a question, the book never states whether or not Tereza had dreams like she does before she met Tomas, and whether or not she has creepy dreams about other things as well? Is Tereza slightly mad (I didn’t want to use this word, as it gives the word impression, but I couldn’t think of a better way to explain it)? Or perhaps just unstable? And was this caused by her childhood, the situation in Prague, or just Tomas alone? Tomas also seems to be almost a father to Tereza at some points, and she perhaps a mother to him as well, they both rely on each other, in different ways, this kind of links in to the Oedipus theme

tULoB, part two.....

Summary

At the beginning of the part, Kundera comes out of the story, breaking the fourth wall, and tells the reader that Tomas and Tereza are no, and never were people, but just fictional characters. The story then proceeds, its part one again, but from Teresa’s point of view, so gives a different aspect of the story so far. Shows different events that Tomas didn’t mention, such as the dreams in better detail, and Teresa’s mother, and explains why Teresa may be as she is. Teresa visits Sabina, who she knows is sleeping with Tom, and they act like old friends at first, chatting about the paintings, and they both end up taking nude shots of each other. It also talks of how people started to act towards the Prague war, not reporting on it, forgetting about it, because it is old news. This seems to crush her spirit, and she stops taking pictures shortly after, when they move to Switzerland. However, she soon has doubts about how genuine her and Toms relationship is, and moves back to Prague, taking the dog with her. She considers going back to her old town, but never does; she postpones leaving, until Tom comes back to Prague looking for her.

Themes and motifs

• The body, and how Teresa hates it, and wants her soul to be free of it (does this mean she wants death?). This also links to individuality
  
• Light and dark, positive and negative (contradictions and opposites
  
• Tom and Tereza are both similar and opposite at the same time
  
• The number 6 and the amount of times it crops up in Tom and Terezas lives
  
• Individuality and wanting to be your own person
  
• The dreams
  
• Modesty and privacy
  
• Shame and sacrifice
  
• Music, specifically Beethoven, and how Tom and Tereza are like a piece of music
  
• Books
  
• The bowler hat
  
• Religion, mainly Christianity
  

Characters

• This part develops Teresa as a character more, running over her childhood and explaining maybe why she is as she is. Her mother blames her for the mess she apparently made of her life, and she is constantly having to make this up to her mum, going above and beyond the call of duty, but still getting nothing but criticism and ridicule. She is incredibly modest and also quite nervous as well, possibly a result of her mother displaying the opposite traits, and therefore making them seem repulsive to her. She is also shown to be incredibly paranoid about Toms other lovers, and is jealous of them (not without reason
  
  
• Tom is shown in a different light here, he seems much more controlling and dominating than in his version of the story, where he seems indecisive
  
  
• Sabina is also portrayed differently in this part, and she is now no longer just one of Toms other women, but a person in her own right. She is very similar to her paintings in some ways, and they are used as a device to show how she is. She is more in control of things than Tereza, it would seem
  

Places

This part jumps from Prague, to their new life in Switzerland, then back to Prague again. The place the moved to doesn't seem to matter really, just that its is foreign, and not Prague, and that this makes Tereza dislike it, but maybe also because she is not in control there, she would have to rely on other people all the more, which takes away her Independence. Being in Prague seems to give her life meaning, as she is tied into the current events and actually a part of history

Other thoughts

Again its still very philosophical, but it gives a different side of the same coin, many of Toms thoughts are the opposites of Terezas, although some are more similar than it seems at first. For example, they both have sex not for the act itself, but the feelings after it. An example of their opposite ideas is how Tereza feels the coincidences surrounding their relationship bonds them together more, whilst it worries Tom.
The things about the body and soul were interesting, knowledge about the body has taken away the magic of things? Does this mean we should ignore the body, and live for the soul instead? Is the body actually a window to the soul, or do people just treat it like it is, therefore making it so? Your body is itself, a duel object( sorry, i know that doesn't make sense, but cant think of a better way to word it), showing both your own 'i', and your similarity to other people, your relations.
This part of the book makes me question Tom and Terezas relationship further, as Tereza says things that seem to suggest otherwise, for example, saying that Tom was an escape from her previous life with her mother, does this make him more of a key to escape, rather than an object of Terezas love?

I'm also liking the idea that there is beauty everywhere, even in the sad and dark things, and that Tom is depriving himself by not noticing this.

tULoB part 1 - lightness and weight

introduction to the novel, very philosophical in places. Focuses on Tomas, during the Prague Spring and its aftermath. The books story starts with Tomas meeting Tereza in a restaurant, and then inviting her back to his flat. He only intended for her to stay and hour or two it seems, but Tereza gets ill, and ends up staying a week. Tereza ends up getting under Tomas' skin, and he can't seem to stop thinking about her. Eventually she calls him from the Prague train station, and ends up moving in with him, complete with a big suitcase that contains her life. However, Tomas is still seeing other women, and this hurts Tereza so much its giving her nightmares. However, one of Tomas' other mistresses, Sabina, gets jealous of the time Tomas is devoting to Tereza, and how much he cares about her, and so trys to get back at her, by hiding on of Tomas' socks, so that he has to go back to Tereza wearing on of Sabinas stockings. I doubt Tereza was too pleased about that. They both end up getting married, yet Tomas doesnt make too big a deal of this, only giving half a sentance to their marriage. He also buys her a dog, perhaps to try and give her something other than him to care for and worry about. They call the dog Karenin, which is a guys name, although the dog is female. This is slightly odd i thought, as she is refered to as he all the way though the novel. Tomas gets a new job offer in Switzerland, and so they both move there. However, Tereza find she cannot cope with it there, as she is now completly dependant on Tomas, and this seems to scare her, so she and Karenin go back to Prague. After a while, Tomas decides to follow her back, as he really is attacted to her. However, once there, it seems that its more a cant live with her, cant live without her situation, as he finds things awkward as soon as he gets back.

Themes

• Love and lust
  
• Light and weight
• philosophy
• Pragues state of affairs
• indecision
• Consequences and coincidences
• freedom
• religion
• dreams
• es muss sein

Characters

• Tomas is one of the main characters of the novel, and represents lightness. Hes a surgeon and lives in Prague during its occupation by Russia. He doesnt connect sex with love, and so has many one night stands. However, he doesnt like the idea of become attached, or weighted down, by others, shown by the way he doesnt like sleeping next to people. However, he unwillingly falls in love with Tereza, who weights him down, but he finds he cant be without her.
• Tereza starts off as just another of Tomas' screws, but she ends up falling in love with him, and him with her. However, Tomas' constant affairs depress her, and she becomes incredibly jealous and selfhating, having recurring nightmares that all relate to Tomas' other women. Tereza is a heavy type of person, and ties Tomas down as well
• Sabina is one of Tomas' mistresses, rather than just a one night stand. It seems she has feelings for Tomas though, as she is jealous of the amount of attention he pays Tereza. She is Terezas main rival for Tomas' love

Other thoughts

This seems a very deep book so far, more about the philosophy of the story than the story itself. Terezas reappearance with the suitcase seemed a little pushy, i mean, theyd only met once before....

Strengths and weaknesses

After reading Sputnik Sweetheart, I found that it was an interesting book, with many different strengths and weaknesses. The main problem with the book is its slight lack of storyline, with the story seemingly going round in circles and twisting and turning until reality is inseparable from the surreal world the book inhabits. This, perhaps, makes up for the lack of story, as it is incredibly thought provoking and an really interesting book, not only to read, but also to flick through and choose random pages, as each one is guaranteed to have a sentence or phrase that sets your mind spinning. Another strength of the book is its characters, although slightly unrealistic, are quite easy to empathise with on different levels. I'm not suggesting that everyone feels split in two, or is trapped in unrequited love, but certain feelings from all of the characters come through to make the book so much more than just a story to the reader. Another strength is the amazing use of metaphors and turns of phrase that leave you truly engrossed in the lives of the occupants of perhaps the most complex love triangle literature has known, it is this and the many ways the book can be interpreted that makes this such an interesting read, as it has a different theme and ending, depending on who's reading it. Is it a story of love, jealousy, separation or just a very surreal book, to explain how people can be split, not literally as Miu is, but just as effectively. Perhaps this could also be considered a weakness, however, as the ending can leave you feeling slightly unfulfilled, as there is not really an ending as such. It is not known whether or not Sumire and K ever actually meet again, where did sumire go, did she find what she was looking for, did she and Miu ever make its as a couple? None of these questions are answered, at least not effectively anyway. the slight irrelevancy of some extracts is also quite infuriating, for example the huge amount of words donated to the nose of Sumires father. As fabulous as it might be, i hardly think its as important to the book as other subjects might be. However, overall, i feel this is a worthwhile book, and that the author has written an original and unique book that could be popular all over the world, despite cultural and slight linguistic differences.

WSS, book or film?

After the BBC showed their adaptation of Jane Eyre, it was only fitting that they then showed one of WSS as well. There are, however, some major differences between the film/drama (unsure which) and the book...

The one of the most glaring differences is the lack of part one, this makes up over a third of the whole novel, and explains a lot of things, including how Antoinette was treated as a child, and it also draws many comparisions to JE. Without this part, the film seems to be missing a major chunk of the storyline.

Another difference between the film and the book is that in the book you are left to create your own opinion of what is going on, and who is really mad. In the film you only get the directors etc. point of view, who seems to believe that Antionette was not insane, at lest, not to start with, and that we should pity her. Another view that comes across is that Daniel Cosway is made to look much more sinister. He frequently appears from nowhere, and seems much more malicious that the book suggests.

The most obvious difference though, at least to be, is the graphical nature of the film. In the book Jean Rhys only hints at sex, and leaves the reader to figure out a lot of things for themselves. The film is much more straightforward, simply showing you exactly what is going on. Most of the film seemed at times to revolve around sex, maybe because this is the honest opinion of the director (or whoever), or perhaps it was just to keep certain people of the audience interested.

Overall, I prefered the book to the film, although to be honest i didn't enjoy either. The book leaves the reader to form their own opinions and make up their own minds over who is mad, and what has happened, whereas the film is much less subtle. I did like where it was filmed though, very pretty.

Part 1 WSS

The start of Wide Sargasso sea describes the childhood of Bertha Mason, more commonly known as the mad woman from Jane Eyre. The start of Jane Eyre is quite similar to the start of this book, Bertha is a small and slightly odd child, quite calm and seemingly unloved, as Jane Eyre was. Antoinette is rejected by her mother over her brother Pierre a number of times, as JAne was by her Aunt Reed due to her children. This creates sympathy for Antionette. The main themes and motifs are introduced in this part, including isolation, red, fire, and racism,

Part one starts off being set in Coulibri Estate, but when this is burnt down the focus moves to to the convent where Antionette is sent to stay, as JAne was sent to Lowood, although Antionette seems to do better here. Coulibri is described as a beautiful place, but underneath the description is an underlying sinister feeling, the place seems to be slighly evil, especially with the forest almost swallowing it up. The convent, in contrast is described as all black and white, with no colour, but Antionette seems to feel safe here.

A few main characters are introduced, including Antionette and her mother, Annette. Annette seems slighly disturbed, we later find out she is mad, which is a parrelel to Jane Eyre, as Berthas madness is suppoisedly hereditary. Pierre, Janes brother, is also considered to be mad, and Antionette gives the impression that there is definatly something wrong with him, as he never speaks, and he eventually dies in the fire. However, Antionette says that he died before this. Antionette herself seems quite odd, to say the least, everything she says is stated coldly and calmly, for exapmle when she describes Mr Lutrells suicide and the horse being poisoned. The only emotive sentance used is when Coco the parrot dies, i found his bit distrubing, most likely because its the only part that shows true emotion on Antionnettes part. She also seems to struggle with trusting people, the only person she truely seems to trust is Christophine, but even then she is suspected of being an Obeah woman, and Antionette seems scared of her.

Chapter thirty-eight

The last chapter of the book (yay!). This is really just a tying up of loose ends, where Jane tells us how everyone ended up. She and Mr Rochester get happily married, and ten years on, they are still living together, with Adele and their son, who is not named. After two years it turns out the Rochester is getting his sight back, and soon he is able to see out of one eye quite well, which is nice. Diana and Mary Rivers both get married to loving husbands, Captain Fitzjames and Mr. Wharton, and they live happily too. St John Rivers, however, does not find a wife in the end ( he must feel so left out), and he is starting to feel the effects of his missionary work in India, being close to death. The books final words are his : "My Master," he says, "has forewarned me. Daily He announces more distinctly,--'Surely I come quickly!' and hourly I more eagerly respond,--'Amen; even so come, Lord Jesus!'"



Themes



The theme here is love, as nearly everyone has married, and has found a loving and caring family, both of which are very important to Jane. The idea of Jane and Mr Rochester being as one flesh is mentioned again, saying "No woman was ever nearer to her mate than I am: ever more absolutely bone of his bone and flesh of his flesh, this links to the religious theme, as this is related to the original couple, Adam and Eve. Another link to religion is St John, who spent the rest of his life being a missionary in India, which exhausted him, and when the book finishes he is close to death. This, however, does not faze him, and he has an attitude very much like Helen Burns, saying that he has heard God calling for him, and he cannot wait to join him in heaven. There is also a slight feeling of isolation, as Jane and Rochester seem to be quite cut off from everyone else, however, this time the isolation is Jane's own choice, and that is how she wants her life to be, just her and her family, and so its a happier kind of isolation. The theme of status is also mentioned slightly, as with Rochester getting his sight back, he no longer needs to rely on Jane, and they are therefore now equals.



Narrative Voice



Jane seems quite happy and calm in this chapter, as her story is now complete, it had a happy ending after all, and everyone seems to be content. Jane's joy of being able to spend her life with Rochester is also apparent, and i think it makes a brilliant to the novel.



Response



I think this chapter ties everything up quite well, all the subplots are sorted, and its a good ending for all. Jane even sets out to fix some things, for example taking Adele out of the Lowood-like school, to stop her from living a life such as Jane's. I thought it was good that St Johns fate was also slipped in, as it gives the reader a reality check, as not everything can always turn out good.

Chapter thirty-seven

Jane arrives at Ferndean, trying to find out what has happened to Mr Rochester. She sees him come out of the door, but he does not see her, as the damage from the fire has taken his eyesight. Jane waits till Rochester is inside, and then knocks on the door, Johns wife, Mary, opens the door, and lets Jane in. After a brief conversation, Jane persuades Mary to allow her to bring Rochester a glass of water, on a tray of candles. Upon entering the room, Pilot ( the dog) immediately recognises Jane, and almost knocks the water everywhere. Jane gives Rochester the water, and he realises its not Mary, and he starts to panic. He then realises its Jane, and, once he has convinced himself that she is really there, they talk, Mr Rochester gets quite jealous when Mr Rivers is mentioned, but Jane promises to stay with him forever.



Themes



There is a strong sense of isolation in this chapter, except it is Rochester experiencing this, instead of Jane. This is because all of a sudden all he can see is black, and so he is unable to know if someone is next to him or not, which I'm sure would probably make him feel so alone. There is also another moment of concealment and trickery, when Jane pretends to be Mary. I found this quite unfair, i know shes most likely paying him back for all the times he deceived her, but creeping up on a blind man is wrong! There is also a supernatural element here, as Rochester tells Jane of his crying out for her, and she realises this is what she heard and replied to, that caused her to go back to Thornfield. The theme of status is also brought up, as all of a sudden the roles of Rochester and Jane have been switched, as Jane is now a strong independent woman, whilst Rochester is now a man who must rely on others to care for him and see for him. This is a huge role reversal, as before Jane seems to rely on Rochester for everything, and he didn't seem to need anyone.



Motifs



The chestnut tree gets another mention, when Rochester compares himself to it. However, what the chestnut tree really symbolises is Rochester and Jane, and how even though on the outside their relationship may have seems ruined, inside it was still living on. This is the same as Mr Rochester, as although he is crippled and blind, his mind is still as sharp as it was before, which is all that really matters to Jane I think. This links back to Jane and Rochester being as one. Another motif is the contrast between St John , the man Jane had just left, "a handsome man: tall, fair, with blue eyes, and a Grecian profile", and Mr Rochester, crippled from the fire, and looking absolutely awful, as he hadn't really been paying much attention to his appearance. Mr Rochester finds it hard to believe that Jane would leave such a brilliant sounding man for a cripple.



Narrative Voice



Jane sounds nervous and worried at the start of the chapter, as she is worried about the fate of Mr Rochester. However, she calms down when she sees him again, despite the fact that hes blind. She sounds more pitying than sad at Rochester's predicament, as she describes him as vunerable, which i suppose he was. Jane also sounds rather mischievous whilst speaking to Rochester, as she used to be when they first met.



Response



I don't really like or dislike this chapter, although the fact that Jane's happily ever after has a slight twist makes me feel slightly better, as nobody can have a perfect life. Its a shame about what happened to Rochester, as he seems to rely on his strength and independence, and now he finds he has neither.

Chapter thirty-six

Jane leaves the Rivers to go and find out what has happened to Mr Rochester, as she has been worried about him for quite some time. Upon reaching Rochester's lands she gets more and more excited, until she sees the house...and finds it burnt down, a ruin. Jane tells a short story to demonstrate her feelings, about a lover who finds his mistress dead on a bank. Jane asks a nearby man what had happened, and he said that the house had burnt down at the dead of night, although Mr Rochester was alive. Jane then hears the story of what had happened after she left. Rochester had shut himself up like a hermit in the hall, and sent away everyone but Grace Poole and Bertha. However, Bertha got hold of a candle or something, and set fire to Thornfield. Mr Rochester went to save her from the blaze, but she climbed up onto the roof, and, upon seeing Rochester coming after her, jumped off to the ground below, killing herself. Mr Rochester survived the fire, but was severely hurt, being crippled and blinded by the blaze.



Motifs



The fire is an obvious motif, as it has been used throughout the book as a symbol of trouble and disaster, it is also strongly connected with Bertha and Jane. This time the fire has helped Jane, in a way, as she is now free to marry Rochester, blind and crippled though he is. The fire also humbled Rochester, in a way, so that he is now on an equal level to Jane. Also, Jane stated that she would never live in Thornfield again, as it held too many unhappy memories, and i doubt she would after the fire, as it was a ruin, and not fit for human habitation.



Narrative Voice



Jane seems very worried in this chapter, and rightly so, as there are many instances where she believes that Rochester may be dead. Her emotions really go up and down in this chapter, ranging from excitedness, to sadness, to pity, and relief.



Response



I thought this was a sad ending for Bertha, as she died crazed, and didn't really know what she was doing. I also think its a shame that Thornfield was destroyed, as it sounded a lovely house, and a natural place for Jane and Rochester to spend the rest of their lives together.

chapter 28-35

Don't really like this part of the book, it’s far too coincidental and unrealistic, so am going to do the whole section in one go, to save me having to spent ages dwelling on each individual chapterJane has fled Thornfield and caught a coach to a far off place where Mr Rochester would not know anyone. Penniless and alone, Jane walks across moors, looking for civilisation, eating bilberries and anything else she can find. Soon she is hungry and ready to give up, but hears a church bell, and follows the sound to a little hamlet. Here she enters a cake shop, which the intention of swapping her gloves for food, but she is ashamed and instead asks for a seat, and inquires about any employment that was on offer. Being told there was none, she wanders from house to house, asking for employment, but to no avail. She eventually reaches the Parsonage, where she hoped to find help. However, the parson in question was not at home, and so Jane went away again, still hungry and tired. Eventually she ends up by a house, after wandering the moors begging for food. She observes the two women inside, the knocks on the door and asks for food and shelter for the night (it's raining by this point). The housekeeper declines and Jane curls up on the doorstep, ready to give up and die, when a man appears and takes her into the house. Jane, not sure if Rochester is looking for her, gives a false name to the group (Jane Elliot) and then falls asleep. Jane gets to know the three siblings a lot better, and soon they are good friends. Soon however, it gets to the point where Diana and Mary must move away, and become governesses for other people, and Moor house was to be boarded up till they came back. As Jane would be lacking a house to live, and is still jobless, St John offers her the position of mistress of a girls school in the village. Jane takes the job and moves into the cottage that comes with it. Just before the two sisters leave, a letter arrives, telling St John and his sisters that their Uncle John in Madeira (rings any bells?) is dead, and has left all his money to an unnamed relation. The next day Mary and Diana leave. Time goes by, and Jane teaches at the school, and observes St John’s interest in Rosemund. Jane starts to learn German, and carries on with her life, having little discussions with St John about him and Rosemund, with her trying to act as a matchmaker. However, St John starts to act strange, and tears a bit of paper off some of her work, almost without her noticing, and giving no explanation. Later on that day, St John pays a visit to Jane, and starts to describe the story of a girl named Jane Eyre’s childhood, and comments on how similar it is to Jane Elliot’s (Jane’s alias). St John then produces the piece of paper he had run off with, a scrap of paper with Jane’s name on it. Jane believes that he knows of her because of Mr Rochester’s searching’s, but what has actually happened is that Mr Briggs, the solicitor of the late Uncle John (the man that broke off Jane and Rochester’s wedding), is looking for Jane as she had been left £20,000 but her late uncle. Jane is then curious of why Mr Briggs wrote to St John about this, and finds out that St John, Mary and Diana are all Jane’s cousins! Jane decides to split the money between the four of them, as they deserve an equal share, and that solves that. Later on, at Christmas, it come to light that Rosemund is to be married, and St John asks Jane to stop learning German and start learning Hindustani (Urdu). Later, he and Jane go for a walk, and St John invites Jane to come and be a missionary with him, as his wife. Jane consents to go as his sister, but he refuses, and they argue. They talk again a few days later, with Jane making the same decision. They go to carry on arguing the point, but Jane hears Rochester’s cry on the wind, and she makes ready to return to him.

Themes

Most of the themes are mentioned here, Isolation for when Jane is out wandering the moors all alone, and she feels even god has forsaken her, being turned away at every doorstep, social status, as Jane has gone from almost becoming an equal to Mr Rochester to a beggar, then back up to being an independent woman with a small fortune, all in about half a year! Religion is also a major theme in this part of Jane’s life, as St John is a devout Christian, and therefore God is mentioned a lot. St John is yet another type of Christian in this book, being a missionary and an evangelist, intending to spread Gods word all across India. The theme of Love is also brought up, as St John loves Rosemund, who gets married to somebody else, and so he therefore asks Jane to marry him and accompany him to India. Jane isn’t very happy about this, as she knows that St John does not love her in that way, and because of that it would be a fake marriage, which is what she ran away from in the first place. Jane has also found a family, something she seems to have longed for throughout the book, being an orphan and having been effectively thrown out of Gateshead.

Characters

St John Rivers (pronounced Sin john) is the pastor of a nearby church, and Jane’s saviour when she first turns up at the cottage. He seems a stern person, upright and moral to the end. His sole goal is to go to India and become a missionary of God, and he wishes Jane to go with him. He’s not very good at taking no for an answer, and beats around the bush a lot, taking the long way round to explain things, and sometimes using big words where they are not all together necessary. He is in love with Rosemund, but he does not think she would make a good missionaries wife, so he asks for Jane's hand in marriage instead.

Diana and Mary Rivers, two sisters who do everything the same, so there is not much point them having a separate bullet point. They are both intelligent, teaching each other German, and are both governesses for richer families that need their children to be educated. They are both quite good looking, but there is never any mention of a husband for either of them, which is slightly odd. They are kind and caring, if not slightly subdued, and Jane is lucky to have these two as cousins.

Rosemund Oliver is the daughter of the wealthiest man in the village, and the love interest of St John. She seems quite a nice person, having furnished Jane’s cottage, and she occasionally helps out at Jane’s little school. It is not said for certain that Rosemund knows of St John’s interest in her, but I would have thought it would be quite obvious. For all we know she may have liked St John back, but as he didn’t think her suitable, we shall never find out.PlacesWe are now in Morton, a little village on the moors. It is quite small, but it has a needle factory, run by Mr Oliver, and two schools, one for the girls and one for the boys. Jane first appears here begging for food, and not much description is given, the people seem kind, but that’s about it. However, when Jane starts to live there, the reader gets a better impression of the actual place. It seems a friendly little place, with everyone knowing each other, and scenic places to walk. Jane’s cottage in particular sounds lovely, is a little sparse, with its whitewashed walls and tidy interior.

Narrative voice

Jane seems very desperate whilst out begging, with good reason; she had no money, food or shelter, all of which are kind of essential. However, she starts to become more routine as she gets used to her life in Morton, and seems quite well settled in. She is still as curious as ever about her surroundings, and there is still a lot of description, but this lessens as Jane starts to just see the same things over and over.

Response

As I said earlier, I don’t really like this stage of Jane’s life, as it’s all far too unrealistic. Jane just happens to collapse at the doorstep of her cousins, who just happen to get a letter about the dear Uncle John, who just happens to have left Jane £20,000, give us some credit! I think another reason I don’t like this section is that it is boring, for the last part of Jane’s life loads has happened, and all of a sudden she is stuck being a school teacher leading a pretty uneventful life. I also found St John’s desire to marry Jane, even after he knew she was his cousin, slightly wrong. I know that it’s not illegal or considered incest or anything, but it just doesn’t seem right to me.

chapter 27

A really really long chapter (sigh). Jane decides that she must leave Thornfield, as it would be inappropriate for her to stay after all that has happened. Jane opens the door of her room, finally, to find Mr Rochester waiting outside for her, as he was worried about her. Rochester tries to kiss Jane, and she turns away, as he is married, and it would be wrong to carry on their relationship. Mr Rochester starts to talk of leaving Thornfield, and Jane relaxing, thinking that Rochester has realised that they must part ways. However, it turns out that he wants to move out with her, and travel to a place where nobody would know of his wife, and they could live as spouses happily ever after. Jane isn't very happy about this, as her personality dictates that she could not deceive people into thinking she is Mrs Rochester, and it would also fly in the face of her religion, as she would be committing adultery. Furthermore, she would be living as Rochester’s mistress, and this goes against Jane’s strong nature. Mr Rochester explains to Jane the circumstances of his marriage to Bertha, and how this led to his imprisonment of Bertha and his worldwide search for a woman more suited to him. He describes how he could never find the right woman, no matter where or how hard he looked. He eventually gave up, but on his way back home, he saw a figure sitting on a stile (ringing any bells) and she turned out to be perfect. Rochester then asks again if Jane will be his, and she refuses him, despite his many pleas and his rising anger. He then gets quite violent, but Jane stands strong, and Jane walks away from him, with one final kiss. That night, Jane starts to prepare to sneak away from Thornfield, and in the early morning she does so, believing she has left Thornfield forever.

Themes

Control, or submissiveness, is the main theme of this chapter I think, as it shows how Jane is standing up to Mr Rochester, even though he believes her can control her. You can tell this in a number of ways, for example when he compares Jane to a lamb, and also when he says that even if she went mad, his arms would confine her, all of which shows he still she’s himself as the superior in their couple, despite the fact that their marriage would have made them equals. Jane, however, stands strong and does not give in to Rochester’s pleas and threats, showing that perhaps she is becoming much stronger. There is also the theme of love, as it is painstakingly clear that Jane and Rochester still love each other, and that neither of them wants to leave the other. Mr Rochester is so desperate for Jane’s love that he even thinks to resort to violence, but he knows in his heart that he cannot harm Jane. It’s also interesting to see that throughout the novel Jane has aspired towards love, seeming to need it like others need oxygen, but now she is running from it.

Motifs

Again, it is the weather and the moon that are the most important motifs in this chapter. The moon comes to Jane in a dream, advising Jane to 'flee temptation', Jane also refers to the moon as 'mother', I am not altogether sure what the significance of this is. The weather is also important, as the morning that Jane runs away into is a lovely summer day, which I found odd at first, as all the other descriptions of the weather have reflected the mood of the novel at that moment in time. Does this mean Jane has made the right decision (the moon seems to think so)? Jane also dreams of the red room, a place of immense trauma for her in her early life. This is either because her emotions after her almost-wedding day are similar to the ones she experienced all those years ago, or because the red room was where the ghost of her uncle was supposed to live, and therefore it was a good place for Jane to dream another meeting with a supernatural being, this raises a question, did Jane dream of her mother when she dreamt of the moon?

Narrative voice

Jane becomes almost schizophrenic in this chapter, as her view of her situation is jumping around so much, which her head telling her to flee, and her heart saying she should stay. These two voices even talk to each other, which is quite confusing. However, everything she said seems underlaid with sadness, as she feels that whatever happens she will be unhappy, whether she runs away from Thornfield and her love, or stays and lives a life she would know to be false.

Response

I found some of the things Mr Rochester said slightly creepy, as some of the things he’s saying are not the best things to say when trying to convince someone to stay with you (I could bend her with my finger and thumb?!) however, despite this, I found this a very upsetting chapter, as it was an awful thought to see Jane and Rochester split up. I'm unsure as to whether or not Jane is being strong or weak by fleeing Thornfield, as on one hand she is running from temptation, instead of facing it head on, but on the other she is choosing to do what is right, despite the pain she knows it will cause her

chapter 26

This is a chapter in which Jane marries Mr. Rochester for the first time. However when the clergyman asks whether or not there is any impediment stopping the marriage from being recognized by law, a solicitor claims that there is, stopping the wedding in its tracks. In spite of Mr. Rochester’s insistence that the wedding goes on, the priest hears the man out, and it turns out that Mr. Rochester already has another wife, Mr. Mason's sister. However it turns out that she is quite mad, and that she's the woman locked up in the attic. Mr. Rochester takes Jane and the other people to see his supposed wife, and show them why he wanted to marry Jane instead of her. Jane vanished off into her room and stays there for a very long time, with good reason I suppose.

Themes

One of the main themes in this chapter is Mr. Rochester’s trickery, and it becomes obvious that is not only Jane he's managed to trick into believing that he has no wife, but also many other members of the community, who also find it hard to believe that Mr. Rochester had been hiding his wife away for all those years.

Motifs

The main motif in this chapter is contrast, namely between Bertha and Jane. Mr Rochester is the one to draw our attentions to this, comparing Jane, pale and calm as always, and Bertha, a Jamaican madwoman who flies into a rage when she so much as she’s her husband.

Narrative voice

For obvious reasons Jane isn't very happy in this chapter, as all her hopes of happiness have been dashed in a few fatal minutes. And the beginning of this chapter before she even realises that everything is about to go wrong, she is still anxious, but this is properly because it is her wedding day and most people are anxious that. But she still seems to keep her head remarkably well however, she doesn't seem to cry or get angry or anything that you would normally expect in a circumstance like that.

Response

And as I mentioned earlier I find it hard to believe that Jane was so calm after having her wedding ruined, she seemed to take it all in her stride. Mr. Rochester’s the one who seems to react more, which I found surprising, as in previous chapters he seemed to be the person who is in more control. However, here his actions become slightly rash, ignoring both Mr Mason and Grace Poole’s suggestion that he removes himself from Berthas sight. Jane, on the other hand, waits till she is in private to show how the news has really affected her, as she now knows that she can't marry Rochester, then he would be committing bigamy. This chapter shows how strangely Rochester’s mind works, as he was always resentful because he was tricked into marriage with Bertha, yet he seems to have no qualms about tricking Jane into marrying him when really he can’t be married.

chapter 25

Time has passed, and we are now only a few days away from the big day! However, Jane is starting to get nervous; not only because of the imminent wedding, but also because of the recurring dream she is having again. The night before the wedding, Jane is sleeping fitfully, and wakes to find a woman trying on her wedding veil! The strange lady then proceeds to rip the veil from her head, tear it in two, and trampled it. Mr Rochester seems worried, and states that Jane should sleep in Sophie and Adele’s room that night, just in case

Themes

The superstitious theme is back, as Jane has started to dream of the sickly child again. Her dreams also seem to have premonition tendencies, as she dreams of a ruined Thornfield, where only the bats and birds lived. This is indeed what happens later on in the book.

Characters

Bertha Mason, also known as the madwoman in the attic, makes her first physical appearance in the novel, although she had been pressing on the minds of the readers for some time I imagine. Described as a vampire, and a purple ghost, she doesn’t seem to have made a good impression on Jane. She tore Jane’s veil in two, perhaps as it reminded her of her own wedding day.

Motifs and metaphors

The chestnut tree is back again, Jane is saying that despite the fact that the chestnut tree seems broken, in fact the two halves are still reaching for each other. The movie is also mentioned again, described as blood red and half overcast. This is a bad omen for Jane, as the Moon is red, which signifies trouble, and as it is the Moon, the trouble relates directly to Jane.

Narrative voice

Jane seems quite uncertain in this chapter, as she soon to become Mrs. Rochester instead of Miss Eyre, as she was used to. She is worried about the loss of her identity, and how her new life will be. Most recounting her dreams she sounds calm, but it is obvious that she was scared, especially when she awoke to find Bertha by her side. It is hard to tell whether she's more anxious about her dreams or her new life.

Response

I found this chapter to be quite spooky, as it is very supernatural and doesn’t hold good omens for the Jane’s later life. Have found it quite strange that Mr. Rochester seemed so unconcerned about Jane's troubles, as she's his fiancée, and I would have thought this would mean he'd be more worried for her, especially once he knew that Bertha was paying visits to her during the night.

Words and phrases I liked

I like the description of the chestnut tree, and how that despite the fact it looks broken in half, in reality the two pieces are still clinging to each other, as Jane and Mr. Rochester do.

chapter 24

To change things around Bronte seems to have decided a longer chapter was in order. I preferred the shorter ones. Jane and Rochester announce their engagement to the other people in Thornfield, as otherwise they may have got the wrong impression. Jane and Rochester seem to feel more comfortable arguing properly especially over such things as jewellery and expensive clothes, as Jane wants none. Jane, Rochester and Adele all go to Millcote together, to go shopping. Not the most interesting chapter really.

Themes

The only real theme in this chapter is class and social status, as Jane doesn’t feel she should be able to move up a class just by marriage, as she would still be the same person at heart, and wouldn't feel right in social gathering, covered in jewellery and pretty clothes. Rochester doesn’t seem to understand this, perhaps because he has never had to view his society from the outside before.

Narrative voice

Jane seems much more assertive in this chapter, perhaps because she finally knows where she stands with Mr Rochester, although she still calls him sir, which is slightly odd. Perhaps it’s just a thought of habit. I got slightly confused at one point, where Jane says to Rochester “I’ll wear nothing but my old Lowood frocks to the end of the chapter." does this mean chapter as in this chapter, or something else that’s more significant

Response

I think it’s nice that Jane feel that jewellery will mess with her sense of identity, as she’s right I think, jewellery and Jane don’t seem to go together. I also like how Jane is now standing up for herself, and fighting her corner on things she finds important

chapter 23

Again, quite short, considering how much happens. However this chapter brings back good memories, and I'll never be able to read it with a straight face again! Jane is out in the garden, and when Rochester appears, she tries to hide. However, he somehow knows she's there, and they wander off to sit on a bench underneath a chestnut tree. They talk of Rochester marrying Blanche, and Jane gets rather upset (understandably). Mr Rochester then proposes to Jane, in a very strange turn of events. It’s not the conventional way to make a proposal I'm sure.

Themes

Isolation appears again, as Rochester mentions sending Jane off to Ireland, and they will be separated by many miles, and Jane will know nobody there. Trickery is also a theme, as Rochester tricks Jane into believing he wants Blanche as his bride, whereas he really loves Jane. This backfires on him, as Jane starts to get wise to his tricks and doesn’t believe him when he proposes.

Motifs (and a metaphor)

The weather, a very significant thing in Jane Eyre’s life, is turning bad again. Just mention a storm and you know Jane is going to spiral down into a nasty situation, although at this point it is confusing, as it is hard to imagine why the proposal could cause problems for her. There is also an interesting (if slightly clichéd) metaphor at the end of the chapter, where the chestnut tree from earlier is struck dramatically by a bolt of lightning. This is what happens to Jane and Rochester, who, although seemingly destined for each other, they are pulled apart by a twist of fate. Another way this is expressed in Rochester’s description of the string attached to a place just below his left rib. This is a reference to the first book of the bible, Genesis, where God creates Eve from part of Adam, namely one of his ribs, and so the two people are one, as are Jane and Rochester.

Narrative voice

Jane’s emotions go up and down like a rollercoaster this chapter, making it quite hard to follow, as you get swept up in it all. Her emotions themselves are quite easy to pick up on however, Jane is either hideously depressed or really really happy, not too hard to tell the difference really.

Response

I find the whole proposal strange, as I think that most women who had been treated like that would not have consented to marry the man that did it, but Jane just seems to accept everything, which is quite unrealistic and disconcerting, at least in my opinion. Is the moth a direct comparison between Jane and Bertha, Rochester says that it is unusual to find a moth so cool (I’m paraphrasing) in England, instead of the West Indies. Jane and Bertha also share this direct link.

chapter 22

A very short chapter, so not much to write about (yay!). Jane goes back to Thornfield, meets Rochester sitting on the stile where they first met, and they wander on back together.

Narrative voice

Jane seems calmer now, as if a weight had been taken off her shoulders. However, when she gets back to Rochester’s side, she seems more excited and hyper, as she is back with those she loves

Response

Really not a very long chapter, so not much to respond to. I found it slightly funny when Rochester gave Jane a queer look because she asked when his bride was coming home, as in his opinion she was already by his side.

Chapter 21

In this chapter Jane gets a visit from Bessie’s husband, who brings news that her estranged cousin (John) has committed suicide, and Jane’s Aunt Reed is on her death bed. Jane asks Mr Rochester for time off, and then heads off to Gateshead, where she has not been since she left for Lowood. She re-meets Georgiana and Elise, who seems to have changed quite a bit. Jane speaks to Mrs Reed, who tells her that Jane’s other uncle in Madeira is still alive, and wanted to leave Jane all his goods when he died. Mrs Reed wrote back saying Jane was dead, which was a bit mean. Mrs Reed then dies, and that’s another chapter over.

Themes

The dreams of the small children could be interpreted as a continuation of the theme of the supernatural. Jane dreams of a sickly infant (which, incidentally, is the description of Jane as a baby later on in this chapter), this supposedly signifies a sign of trouble for you or a member of family, and Jane, being a superstitious type of person, starts to worry, with good reason, as her cousin hung himself, and her Aunt was nearly dead. The theme of the supernatural is continued when Mrs Reed mentions that she has been seeing John in her dreams, telling her to come clean to Jane. I found this strange, as John didn’t seem to like Jane very much when she lived with him all those years ago. Religion crops up a lot as well, the most obvious is the fact the Elise is now a nun, and a very good one too. Isolation is also a slight theme here, as Jane feels like her cousins are shunning her at the beginning of the chapter.

Characters

No new characters here, but there are a couple of old ones that are worth re-mentioning...

Mrs Reed, Jane’s aunt, makes her final appearance in this novel. Despite having 20 years or so to forgive Jane, she still seems as bitter and hating as ever. It turns out that her hatred of Jane went so far that she told Jane remaining relatives that she had died, to prevent her from inheriting any money, which seems quite mean. Jane forgives her, a very Christian thing to do, but Mrs Reed doesn’t seem to be able to forgive back, which makes me wonder what Jane ever did to deserve such a strong shunning. Mrs Reed then proceeds to die, and nobody (including her daughter Elise) shed a single tear for her. Serves her right

Elise has grown up to become a nun, and a very puritan one at that, which a plain black and modest dress, and a string of rosary beads around her neck. She seems very quiet, but at one point she just seems to explode at Georgiana for no apparent reason. This seems a bit out of character, but reminds me of Jane slightly. Is this to show us of who Jane could have become is she had stayed on at Lowood?

Motifs

The main motif here is contrast, as you can clearly see the difference of how Gateshead was, and how it is now. Another interesting contrast is created when it is said that Elise was "almost as tall as Miss Ingram". This interested me, as Elise is the complete opposite of Blanche, who is comes across as a flirty and social person, whilst Elise the nun is poles apart.PlacesBack at Gateshead. Not much has changed, everything seems to be the same as before, does this make Jane a catalyst for change?

Narrative voice

Jane seems uneasy at being back at a place she was so sure she would never have to visit again, but this time round she seems more in control, as she is mature and has a better handle on life.

Response

Found this chapter depressing, no points for getting why. I still find it surprising that Jane can be so forgiving of Mrs Reed, after everything she’s done to her, but not forgive people like Mr Brocklehurst, or (secretly) Blanche Ingram

Chapter 20

Jane is sleeping, when she hears a sudden cry. She goes out into the corridor to find the "gentlemen and ladies" heard it too, and everyone was in a state of panic. Rochester appears and tells nobody to panic, it was just a servants nightmare, and says that everybody should go back to bed. Jane slips off back to her room, but dresses instead of sleeping, somehow knowing that Rochester would come and ask for her help. Which he did. Jane follows Rochester up to the third floor, and Jane sees Mr Mason, lying injured in a vast bed. Rochester asks Jane to watch over him, forbids Mason to say a word, and then disappears to call for a doctor. The doctor/surgeon (Mr Carter) appears, and starts to dress Masons wound, caused by Bertha biting him. Mason is taken by Mr Carter for further treatment, and Jane and Rochester go for a walk. They sit down in the garden, and start to talk of things, until the conversation turns to Blanche. Rochester asks Jane's opinion of her, and then goes off to tell the guests that Mason left during the night.



Themes



The main theme is most likely to be concealment, as Rochester forbids Mason to reveal anything to Jane, which must have made her slightly suspicious. From the beginning it is obvious that something is being hidden, the secret of Thornfield, and its probably what bit Mr Mason. Another theme is isolation, as Jane is locked in a room for about two hours, but to Jane this seems much more. This draws parallels to the Red Room, as Jane is again worried about seeing a ghost or something similar, and is trapped, which nobody to talk to or to let her out. Another theme that's brushed upon is superstition, as Mason states that Bertha "sucked [his] blood: she said she'd drain [his] heart". This refers to a vampire, an undead being that drinks peoples blood. Submissiveness is also a theme that's starting to crop up, in this chapter it appears twice. The first is Jane's instant acceptance of what Rochester tells her to do, which she does, quietly and without question. The other is the curious submission of Mason to Rochester.



Motifs



The main motif is probably red, as Mr Mason is bleeding quite a bit. Its quite obvious that the red is bad this time, as if blood is anywhere but in your body, its not a good thing! Jane also connects the fire and blood together, asking "what mystery, that broke out, now in fire and now in blood, at the deadest hours of the night?". This shows that Jane has connects all the bad things ( all the red?) to form her own view of whats happening, although she believes that its Grace Poole who is causing all the havoc. The moon is also mentioned at the beginning at the chapter. I'm sure its significant, as its described at many key points in the novel, but I'm not sure exactly what it signifies.



Narrative voice



Jane seems fearful in this chapter, and rightly so, as shes trapped in a room with a man near to death. Shes also starting to question why Mr Rochester is concealing things from her. During the time that she is alone with Mason, she gets more and more panicked, her sentences getting shorter and more frantic. Once Rochester arrives she calms down, but all her description seems to indicate unease, and the knowledge that something similar will happen again.



Response



Found this chapter very creepy, and I'm starting to wonder how Jane is coping with Rochester. I found it hard to believe she forgave him for the gypsy incident, but being locked in a room with a dying man is not something that i personally would forgive instantly, especially without an explanation of whats happening! Also, did Mr Rochester drug Mason when the doctor came, he gives him something, but it doesn't mention what it actually is.

Chapter nineteen

Jane visits the gypsy, who pretends to tell her her fortunes, and those of Rochester's, to see if Jane says anything that may reveal her innermost feelings. Towards the end of the chapter, the gypsy suddenly takes of her disguise and becomes...Mr Rochester (he must be an amazing actor, to convince everyone that he is not only a gypsy, but also a woman?!) Jane mentioned that Mr Mason had arrived, and Rochester's demeanour changes instantly. However, when the two meet, everything seems fine.

Themes

I suppose the main theme in this chapter is trickery, as Mr Rochester's gypsy costume seems a bit unfair, as he's using it to his own advantage, to find out what people are really thinking about him, especially Blanche and Jane, as they form a love triangle, and Rochester's trying to find out their feelings towards him, which is mean and unfair. However, his trickery doesn't seem to work on Jane this time, as she doesn't believe the gypsy if for real anyway, and is therefore careful with what she reveals. Peoples looks, and how they connect to their character, also known as physiognomy, is also becoming a theme, as Jane seems to judge most people by there looks, as many people did back then, and the 'gypsy' tries to read Jane's features, and finds them conflicting.

Motifs

The two main motifs, fire and red, are both mentioned in this chapter. The Gypsy's cloak is red, perhaps showing how, if Jane wasn't careful, what she said could get her into a bit of a hole. Mr Rochester as the gypsy also says that Jane has fire inside her, although she tries to hide it.

Narrative voice

Again, most of this chapter is dialogue, so not much of the narrators feelings can come through the prose, but from what is there, it seems that Jane is quite nervous of making a bad impression, and although she tries not to be, she seems quite afraid of the gypsy, or, perhaps more accurately, what the gypsy may say about her future.

Response

I still find it amazing that Rochester can convince everyone, including two women who love him, that he is a female gypsy! I think that Rochester's trickery is very unfair, as if someone doesn't want to tell you something, trying to trick them it out of them is mean, and i cant understand why Jane forgives Rochester so easily.

chapter eighteen

The party continues, with the guests playing charades. Jane is invited into the game, but she refuses. Later on, Rochester goes out, and a mysterious stranger turns up, called Mr Mason. A gypsy appears at Thornfields door, wanting to tell the fortunes of the women inside. The servants want to turn her away, but Blanche overrides them, and now by one the single women visit the gypsy, till at last only Jane is left.

Themes

religion is a theme in this chapter, as part of the charade acted out by Rochester and Blanche is the story of Rebeccah at the well (Genesis 24), where Abraham tells his servant to go and find a wife for his son (isacc) from Abrahams relations. When the servant reached the city of the relations of Abraham, he was unsure of how to find the right people, so he sat down by a well and prayed. He asked God to help him find the right woman, by her following a script. If she offered water to the servant and his camels when asked, she was the intended wife of Isaac. This happened, Rebeccah agreed to marry Isaac, and they live happily ever after, with Rebeccah having twins. This relates to the novel not only because Rochester used it as a clue in charades, but also because this is what happened to Rochester when he was younger, although without the happily ever after part. Rochester was the younger brother in a family, and, to avoid the splitting of an estate, was going to be left with no money etc. to prevent this, Rochester's father went on the hunt for a rich and young wife, whom he found in the West Indies. This wasn't such a wise move, as we find out later on in the novel. Love is also a major theme in this chapter, as you can see how the typical idea of courtship is not effective on Mr Rochester, as Jane notices quite quickly. She feels she would know how to 'court' him properly, and make him love her. This again leads to the theme of social status, as Jane writes " all their class holds these principles", immediately separating herself from the others.

Characters

• Mr Mason, an "old friend" of Mr Rochester, turns up unexpected at the house. Jane seems to take a dislike to him, as he seems to have an odd manner(this is because madness runs in his family, but we don't know that yet). Jane seems to be the only person to notice this, as the other women appear to find him "sweet" and "adorable", although I don't think this would be all that reassuring to many grown men.
  

Narrative Voice

Jane seems very confident in this chapter, having noticed that Rochester does not seem to care for Blanche, and again seems to spend most of her time observing Rochester. Jane's instant dislike towards Mason seems surprising, as before she has been willing to give everybody a chance.

Response

This chapter is the first that suggests that Jane and Rochester have a chance together, as Blanche doesn't seem to be having much luck charming him herself. This makes you think about the game of charades, as the fact that Rochester asked Jane about the game, as well as Blanche, suggests that his wife in the sketch would have been Jane, if she had not rejected him. This doesn't actually happen in the novel, but it makes you think it might. I'd also like to know what the "gypsy" says to Blanche, as she doesn't seem to happy about it!

Chapter seventeen

Mr Rochester finally sends word of where abouts he is, and orders the servants to get ready for a huge party! When he and the guests arrive, Jane has her hands full keeping Adele out of the way of the Ladies, but soon she and Adele are invited down to join in the fun.



Themes



Love is a very strong theme in this chapter, as Jane is trying to suppress her love for Rochester, and failing quite badly. You can also see how Blanche is acting around Rochester, showing how courtship in those times usually happened, but it is slightly obvious that it is not working. Isolation is also a theme again, as Jane avoids the festivities, and it seems as though Rochester has forgotten her over the more beautiful Blanche Ingram, and Jane is alone again. This in turn leads to the theme of social status, as Jane feels she is not on the same social standing as the guests, and should not mix with them.



Characters



All the guests at the party are mentioned, and their features and characters described, but there is only one main character introduced.

• Blanche Ingram, although first described in chapter sixteen, is properly introduced here. She seems to wish to marry Mr Rochester, although not for love, but for money. She seems to have a rather opinionated, nasty character, although this may be due to the narrators dislike for her. She has a very low opinion of governesses, and seems to be quite bossy, demanding things and expecting them to be done

Motifs

The curtain that Jane hides behind in the drawing room, is red, and shows remarkable similarities to the curtain at Gateshead. At any rate, they're both not very good at hiding people, as Jane is quickly seen by Blanche, and has to listen as she is insulted in a very unsubtle way. The cloak Jane sees Blanche wearing when they first meet is also red, perhaps showing the trouble that she is going to cause, especially when you consider her effects of Jane and Rochester's relationship

Narrative Voice

The narrator seems to spend most of her time talking about Rochester or whats happening around him, which makes Jane's infatuation slightly obvious.

Response

I found some of the guests very irritating, in their manner and what they actually said. I don't think Charlotte Bronte has a very high opinion of that kind of person. I found Jane's constant watching of Rochester kind of creepy, i know she likes him and all, but how is he not noticing shes always studying his every movement.

chapter sixteen

Jane finds out that, instead of Grace Poole, the person who she believes to have set the fire, is still in employment, and the fire was contributed to a lit candle that Rochester forgot to blow out. She also finds out about Blanche Ingram, the lady whom Mr Rochester has gone to visit.


characters

• Miss Ingram, although not formally introduced yet, is described, and is supposed to have a great voice, fine figure and immense beautiful. Jane instantly decides that Rochester must fancy Blanche, and that any inkling that he may fancy her, a poor and plain servant, is preposterous.
  

Narrative Voice

Jane seems much more suspicious in this chapter, as she is starting to realise that something is being hidden from her. She also seems very self condemning, as she believes she had ideas above her station, in fancying Mr Rochester.

Words and Phrases i liked

nothing much that i particularly liked, but i disliked the bit where Jane tells herself to create the two portraits, as it seems far too OTT.

response

Nothing much really happens in this chapter, Jane finds out about Blanche, and starts to realise her love for Rochester, but other than that it is just building on past storylines.

chapter fifteen

Mr. Rochester tells Jane why he cares for Adele, and shows his doubt of his being related to her. Later on, Mr. Rochester’s bed catches fire (finally, some action) and Jane saves him from what could have been a very nasty death.

Themes

Isolation, this time of Adele, as her mother is dead, and, though I do not think she knows who her father is, he is also rejecting her, not physically, he still provides for her and houses her, but mentally. Mr. Rochester seems to try to avoid conversing with her, and does not visit her at Thornfield often (although this may be for a different reason). Due to this, the theme of love is also brought up, as Jane must feel particularly bad for Adele, as she knows the pain of having no parents to love her truly, and I find it hard to believe that Adele does not feel an absence of parental love.

Motifs

Fire comes into the novel again, and in a very dramatic way. Mr. Rochester’s bed curtains are set alight whilst he slept, and, if it were not for Jane, the book suggests he would have died (he must be a very deep sleeper). This shows that fire is again connected to trouble and pain (as is red.)

Narrative Voice

This chapter shows how, although she appears settled, Jane is still jumpy at Thornfield, and I should imagine, even more so after that night. Jane, after hearing a slight noise, seems completely unable to sleep or calm down, shows she is not completely comfortable at Thornfield yet.

Words and Phrases I liked

I liked the last paragraph of the chapter, where Jane describes how she is torn between her two feelings, one of disquiet as to who and why set fire to the bed, and the other a sense of happiness and relief as she saves Rochester, and a small grain of love, slowly growing inside her for Rochester.

Response

I liked this chapter, but probably only because I was getting so bored with the novel up until now. The suspense, excitement, and hint of romance provide a welcome break from the tedious conversations.

Chapter fourteen

Adele finally receives her present (thank goodness, her constant nagging was getting on my nerves!) and Jane and Mr. Rochester carry on their previous conversation, for the chapter before.

Themes

Now Jane has Mr. Rochester to talk to, the theme of isolation has faded into the background for the time being. The theme of social differences is starting to step forward, as Jane and Mr. Rochester seem matched in wit and intelligence, but a huge gap of social standing seems to separate them slightly. Every time they start to get away from the gulf that separates them, something reminds them of who they are, for instance, when Mr. Rochester apologizes for his manner of speaking, and Jane points out that she is his employee, and so he could speak to her any way he wanted. Religion is also debated, and Jane takes a view previously untouched by her, and starts to defend and explain Christianity to Rochester, who, in his opinion, is paving the road to hell with good intentions, and, if hes going to hell anyway, he may as well live life to the full.

Narrative voice

As with the previous chapter, much of the chapter is speech, and so there is less voice to comment on. Jane is starting to sound more confident in her surroundings and her manners.

Words and phrases I liked

I liked the word play between Jane and Rochester, as it makes the story just that little bit more interesting, as, in my opinion; it starts to lag at this point.

Response

As mentioned early, I started to find the novel boring at this part, as it seems to be all talking and no actual action or advance in the storyline. I'm certainly struggling to find anything to write about in this journal at this point.

chapter thirteen

Jane meets Rochester properly for the first time, and you get a better idea of his character and views. Jane’s character also starts to show through.

Themes

The theme of social difference is briefly touched upon, as Mr. Rochester is treating Jane slightly differently now that he is back at Thornfield, in the seat of his power, as it were. Other than that, I didn’t notice any major themes coming through

Narrative Voice

As most of this chapter is dialogue, the narrative voice is hard to comment on. Much of what’s left is description of Rochester or Jane’s paintings, and so Jane’s voice seems almost tender towards them.

Words and phrases I liked

Loved the descriptions of Jane’s paintings, as the picture seems to be painted (excuse the pun) around you.

Response

It was nice to have a break from the mountains of description and be able to hear dialogue that seems unexpected in a book of this genre, as two unique people are having a conversation not usually expected with such a difference in class. the first painting of Jane's, i noticed, bore a striking resemblance to the image in the book of birds described at the beginning of the novel. don't know it this is significant or not?

Chapter twelve

Jane is starting to be settled at Thornfield, and sets out to post a letter. On the way back, she meets Mr. Rochester, although she doesn’t know it him

Themes

Isolation, Jane is starting to feel slightly cut off from other people, as none of the other residents of Thornfield are willing to talk to her, or do not provide the level of conversation Jane feels she needs. Superstition is also touched upon; where Jane thinks that Pilot and Mr. Rochester’s horse are Gytrash (a creature of ill omen). This could show what is to come, as Jane and Mr. Rochester’s relationship has a LOT of ups and down. Trickery may also be considered a theme, as Mr. Rochester has only met Jane for a few minutes and already he is tricking her into believing he is somebody else, pretending to know nothing about Thornfield or himself.

Characters

All of the servants are mentioned, to emphasize how few people are in the huge house, but another character is introduced

• Mr. Rochester, the owner of Thornfield, although his actual name is not connected to him in this chapter. He seems, from Jane’s description to be a stern and formidable person, and very used to have his orders followed, although he makes an effort to be polite.
  

Places

A further description of Thornfield and its surrounding, Jane seems to find the third floor of the house a solace, which suggests that not many people are up there( for reasons that are explained later).

Narrative voice

Jane seems much more restless and wanting for action in this chapter, and she starts to address the reader (us) a lot more, perhaps to demonstrate her lack of other people to converse with. At the end of the chapter Jane’s seems much more cautious, taking time to describe everything, as she is moving more slowly, and has more time to notice everything that is unusual.

Response

I found the whole meeting Mr. Rochester bit slightly annoying, partly because it’s slightly clichéd, but also because he must have been incredibly lucky for him and his horse to fall, and only suffer a sprained ankle, without the horse having suffered any injury. Talking to other members of the group, and thought that this may have made the book more interesting, not injuring the horse (because that would be cruel), but maybe a slightly more drastic injury on Mr. Rochester’s part, to spice up this part of the novel.

chapter twelve

Chapter eleven

Jane travels to Thornfield and meets Miss Fairfax for the first time, but is accidentally mislead about her job, and Jane thinks her to own Thornfield. Jane meets Adela, a little french child that Jane must govern. Jane is given a tour of Thornfield, and hears a strange laugh that is said to be Grace Poole

Themes

Mrs Fairfax's feeling of isolation is emphasised, as Thornfield is quite out of the way and not many people visit, and the servants aren't that talkative. This shows how Jane may feel later on at Thornfield, suggesting that maybe she moved from on place of isolation to another.

characters

As you are in a new act, as it were, there are quite a few new characters...

• Mrs Fairfax, the lady who meets Jane at Thornfield, Jane mistakes her for the owner of the house, but in reality she is the house keeper, like a manager. She is addressed as 'Mrs' but later says that she has no family, so where her husband, if she ever had one, is a slight mystery. She seems to be a stereotypical old woman from that period, complete with the cat and the knitting.
• Adela is Jane's pupil, the whole reason she is at Thornfield. Mr Rochester's ward, she originally came from France,and when she arrived at Thornfield six months ago, she knew no English. Her mother is dead (this is contested later on in the book), and she seems to be a very stereotypical young french girl, very excitable and perhaps slightly pushy.
• You also briefly meet grace Poole, a very mysterious character, of whom you know nothing about for most of the novel. Her laugh is the first thing you hear of her

Places

We are now at Thornfield, the house that Mr Rochester owns. Not much description is given about the front of the building, but inside seems to be a grand place, with drafty corridors and "a very chill and vault-like air", as it is empty but for a few people. Individual rooms ,however, seem much cosier, Jane seems particularly fond of her room, describing it as "such a bright little place"

Narrative Voice

Jane seems quite excited in this chapter, as she is in a new and interesting place, as so there are lots of descriptions, but not of them too long, as she is off again, talking about something else. The language used represents this, as she uses happy words to describe things

Words and Phrases i liked

I like Jane's description of the grounds, with the azure sky, velvet lawn that surrounds the house, and the path, "greener with moss than the trees with foliage", as it creates such a wonderful image

Response

Not a bad chapter, i liked the way the narrator seemed excited, as you start to get caught up in it as well. Everything happens rather fast in this chapter, so there is less description, which is not necessarily a bad thing