Jane Eyre character biography. Do you know that

Charlotte Bronte

Introduction

Artistic features of Charlotte Bronte's novel "Jane Eyre"

Lexico-stylistic techniques of Charles Bronte in creating images in the novel “Jane Eyre”

2.1 Portrait image of Jane Eyre

2.2 Portrait image of Rochester

2.3 C. Bronte as a master of landscape

Conclusion

Literature

Introduction

The realistic social novel of the 19th century played a major role in the history of the development of English literature. Realist writers of this period include, first of all, Dickens, Gaskell, Eliot, Meredith and the Brontë sisters. Among the latter, the work of Charlotte Bronte and, in particular, her novel “Jane Eyre” left a special mark on literature.

Charlotte Brontë was born in 1816 into the family of a rural priest in Yorkshire. Her father, Patrick Bronte, a Dutchman by birth, was a simple weaver from a young age. Dreaming of mastering knowledge and becoming an educated person, he chose the only way to get an education at that time - he became a priest.

After studying theology, he married and received a small parish near Leeds, where his children were born - five daughters and a son. After the early death of her mother, Charlotte and her three sisters were sent to a free boarding school for the daughters of the clergy. Here they were supposed to be trained for the profession of governess.

Malnutrition, dirt, cold, and abusive treatment by staff destroyed the health of the children, and the outbreak of a typhus epidemic claimed the lives of many students, including Charlotte’s two sisters. Memories of the boarding school subsequently formed the basis for the prototype of the Lockwood Asylum in Charlotte Bronte's novel Jane Eyre.

After the death of his two daughters, Patrick Bronte took the remaining two girls, Charlotte and Emilia, and they continued their further education in a good Belgian boarding school, teaching English there and thereby paying for their education.

Now there were three sisters. Charlotte and Emily were joined by the grown-up Anne. Talented, educated girls were fond of literature and painting, and in 1846 the sisters managed to publish a collection of their poems. They performed under the pseudonym Kerrer Bell.

In 1947, they sent their novels to London publishers under the same pseudonym. Emily and Anne's novels were accepted, but Charlotte's The Teacher was rejected. But she was already working on her second book, “Jane Eyre,” which was accepted and published at the end of 1847.

The novel was an amazing combination of topical socio-political relevance and high artistry. The main artistic discovery of the young writer was the ability to reveal the beauty and drama of the formation of the human spirit in the struggle with social “fate”, and a spirit not embodied in a traditional romantic hero or heroine. The ideal of human will, not subject to class regulation, was embodied in the image of a poor worker, a young governess who most valued her independence and human dignity.

Bronte brought to the forefront of the English novel a new hero with a new social and personal identity, a freedom-loving person who rejected oppressive social subordination, ready for any sacrifice and fight if necessary to defend his rights in life.

At the same time, with the image of the main character - Jane Eyre, S. Bronte introduced into modern literature the theme of women's equality, which the writer understands as the right to joyful work and a vibrant emotional life.

This novel was a great success and brought Charlotte Bronte unfading fame in our time. The novel, since its appearance, has generated numerous and often contradictory reviews. The novel was highly appreciated by progressive writers and after translation into Russian, N. Chernyshevsky spoke positively about it. In reactionary literary circles, the novel caused indignation, as it was imbued with murmurs against the comfort of the rich and the deprivations of the poor.

Charlotte Bronte's novel has not been ignored by literary figures of the 20th century, especially since the writer's work was often distorted and falsified.

In the 60s there was a period of special revival of interest in the work of S. Bronte and her sisters. The works of Smington and Wise1, Shorter, 2Winifred Gerin3 are widely known.

The study of Charlotte Bronte's work in Russian literary criticism was started by F.P. Schiller with an article in the collection “From the History of Realism of the 19th Century,” published in 1934 under his editorship,

Z. Grazhdanskaya wrote about the work of the Bronte sisters in “The History of English Literature” (1955).

Most of these works were biographical in nature. Almost no attention was paid to the stylistic and artistic analysis of the writer’s work, therefore, our chosen topic

“Organization of lexical composition in the fiction of Charlotte Brontë. “Jane Eyre” seems relevant and determines the main goal of the work - to reveal some of the features of the writer’s method by analyzing artistic and stylistic means and, in particular, the lexical composition of the novel “Jane Eyre”. During the work, attention will be focused on the author's mastery of portrait and landscape description.

1. Artistic features of Charlotte Bronte’s novel “Jane Eyre”

If we talk about the genre of "Jane Eyre", then it combines the features of an autobiographical and socio-psychological novel. Both realistic and romantic principles of writing are combined here. Everything connected in the novel with the depiction of the birth and development of Jane’s feelings for Rochester, as well as the collapse of hopes for the union of the heroine with her beloved, has great emotional potential and was carried out by the author under the obvious influence of the romantic poems of Byron and the “Gothic” novel (or rather, techniques common for different versions of “Gothic”).

Romance and “gothic”, on the one hand, almost painful eroticism, on the other, were generated by the theme itself and Bronte’s attitude towards it: the description of Jane’s enormous feeling for Rochester - intense to the last limit, almost frantic, the choice of a hero with an extraordinary destiny, passionate, gloomy and, as it may seem at first, doomed.

Jane's feelings for Rochester go through a crucible of terrible trials, but receive a happy ending. Hence the replacement of the existing with the desired in the finale, and this “wishful thinking” should have pushed Brontë to turn to romantic models. She could not write the story of Jane's love for Rochester, especially Rochester's love for Jane, without betraying the realistic method and realistic writing techniques.

The second theme - although inextricably linked with the first - was created by the Brontë realist, that Brontë who admired Thackeray as an unsurpassed master of realism and sought to imitate him. Real people of England in the mid-nineteenth century and characters typical of various strata of society are the broad “backdrop” against which the story of the romantic feelings of the main character of the novel unfolds.

It is impossible to separate the romantic from the realistic in Jane Eyre: the book is perceived in its artistic unity, and in this unity its strength. But it is very important to understand the formation of a bizarre fusion of two pathos, two very different trends in the book.

“Shooting past the target” still occurs in some English-language works, notes V. Ivasheva, when declaring the novel realistic, they turn a blind eye to the variety of stylistic keys in which it is written, or considering it romantic, they do not see the strength of the realistic layer in it . Even “implausibility,” for which the author was repeatedly reproached, is comprehended according to the law of realistic art, which does not reject the imagination. Brontë understood realism in her own way and wrote on the basis of her own aesthetic principles, already established by the mid-40s.

"Jane Eyre" is built according to the compositional laws of the "novel of education." Everything that happens to Jane Eyre” are episodes in the life evolution of the heroine, who comes through struggle, suffering and difficulties to comprehend duty, and from this comprehension to happiness.

The first stage of Jane's everyday upbringing (a child born as a result of a marriage disliked by the family of her mother's wealthy parents), her stay in the house of her aunt Miss Reed - a rich aristocrat obsessed with aristocratic traditions, but above all else loving money, finally, Jane's rebellion against Mrs. Reed and the subsequent expulsion of the girl from the Reed house. The first stage of Jane's upbringing ends with the heroine's placement in Lockwood, a boarding school for orphans of poor priests. This episode also ends with a riot: Jane leaves the prison school and finds a position as a governess.

From the moment Jane arrives at Rochester Castle, the third - and most important for the author - episode of the novel begins - the Thornfield episode.

“Everything in the Thornfield episode is “unbelievable,” Walter Allen reproached Brontë. For all the insight of the critic, in this case he simplifies the matter. Brontë was least interested in verisimilitude in this part. Almost all images associated with Thornfield are deliberate exaggeration, satirical, and sometimes romantic hyperbole. Brontë changes here both the method of depiction and the emotional key of the narrative. All eighteen chapters, i.e. Most of the novel fits almost entirely into the picture of a romantic novel, partly even “Gothic”. Romantic pathos prevails both in the narrative and in the conveyance of Rochester's growing feelings for Jane Eyre and Jane for Rochester. Its allegorical accompaniment is also romantic: Jane’s dreams, a tree broken by lightning, and the like.

The writer reinterprets some typically romantic elements in other situations. Take, for example, Rochester's "voice episode." The voice that calls Jane from afar and to which she obeys (in Chapter XXXV) is perceived differently today than it was perceived a hundred, even fifty years ago. It is curious that in reproducing a typical case of telepathic transmission, Bronte, a hundred years before such phenomena became the subject of scientific study, wrote “This is not a deception of feelings and not witchcraft - this is just an unsolved phenomenon of Nature (the work of Nature).”

Thus, we can say that in the work of Charles Bronte a special mobility of the ideological and aesthetic line between romanticism and realism was revealed. This feature was also manifested in the artistic and stylistic means that she used in portrait images of her characters.

The specificity of a verbal portrait, like a portrait in painting, is determined, first of all, by a direct appeal to the individuality of a certain person. Reliability, or as they say, portrait resemblance, is an integral part of the genre. This similarity is revealed in the correspondence of the reconstructed image to the original, to living nature, which is cognized by the writer as an artistic whole, as an independent and in its own way complete plot for verbal depiction.

It is in the holistic image of a person’s individuality, the uniqueness of his “face”, thinking, which are manifested both in his character, behavior, language, and in his biography, creative activity, various signs of individual existence, reflecting spiritual world of the reconstructed personality, the aesthetic essence of the literary portrait genre is revealed.

Charlotte Brontë proved herself to be a master of literary portraiture. Her work is distinguished by careful choice of words and phrases used to externally characterize the images, but the main task, which she brilliantly solved, was still to show the inner world of the people she painted: she subordinated everything else to this task - Earl Nice noted.

When deciding on characters, Brontë resorted to various writing techniques, striving for the most expressive reproduction of what is typical for a particular personality. In some cases, she deliberately exaggerates (Blanche Ingram and her mother Lady Ingram), in others she adheres to a strict reproduction of the life “norm” (Trustee Brocklehurst, Priest Rivers).

The reader receives a sparse portrait of Brocklehurst's appearance. He is tall and thin. His coat is buttoned up with all the buttons. However, the image of the trustee is revealed through dialogue and without any commentary from the author. The “system” of Brocklehurst’s pedagogical views is revealed with great completeness in the episode where he orders the hair of a girl who naturally has curly hair. There is not a single comment from the author, only a few, as if thrown in passing, phrases showing the teacher’s reaction to the boss’s order: Temple “passes a handkerchief over her lips, as if erasing an involuntary smile.”

The local nobility gathered in the Rochester house is depicted differently. Here the sting of her satire is sharper, the intonation becomes more caustic and hyperbolization is used. Blanche Ingram calls Lady Ingram “Lady Mother,” and she answers her daughter by calling her nothing other than “my soul,” then “my best” (mi best), then my lily of the valley (mi lily), these are absurd in the mouths of well-bred ladies the epithets are not “ignorance of life,” but a deliberate appeal to the grotesque.

But Bronte does not often resort to grotesque techniques. In most cases, when solving characters and painting portraits, she prefers direct realistic reflection. There are many different shades on her palette. Thus, the portrait of Rivers is given in completely different colors than the sharply caricatured drawing of Brocklehurst. The shades are subtler, the choice of words is richer and more complete.

Bronte carefully describes the appearance of the young priest - a thoughtful device that emphasizes the contrast between the external and internal appearance of Rivers, outwardly beautiful, but internally cold and unfeeling, not loving the people he serves only “doing his duty.” “I looked at his features, beautiful in their harmony, but terrible in their motionless severity,” says the heroine, “at his energetic, but cold forehead, eyes - bright, deep and piercing, but devoid of tenderness, his tall, impressive figure and I imagined that I was his wife...”

It reminds cold marble of antique sculpture. His kiss feels like grave cold. "There is no one in the world marble, neither icy kisses, but that’s what I’d like to call my cousin’s kiss,” says Jane. Thus, the psychological portrait of Rivers is perfectly revealed through the external portrait; before us is a fanatic, deaf to other people’s feelings - a typical representative of the Puritan worldview. The modeling of the character of St. John Rivers is one of the great successes of the Brontë realist.

2. Lexico-stylistic techniques of Charles Bronte in creating images in the novel “Jane Eyre”

2.1 Portrait image of Jane Eyre

One of the main advantages of the novel “Jane Eyre” is the creation of a positive image of the heroine. The novel attracted and amazed readers with the image of a brave and pure girl, alone leading a difficult struggle for existence.

The image of Jane Eyre, like most other images, is built on the principle of contrast, which in this case consists in the fact that the writer contrasts the heroine’s appearance with her inner appearance. When creating the image of the heroine, Brontë set herself the goal of showing a plain-looking heroine, but attractive due to her inner nobility, as opposed to the generally accepted “beauty” who was usually depicted in literary works. In his book about Brontë, Gaskell quotes from the anonymous obituary, “On the Death of Correll Bell,” in which the author writes:

“She once told her sisters that they were wrong in usually portraying their heroines as beautiful. They replied that it was impossible to make the heroine interesting in any other way. Her answer was: you will see that you are wrong: I will show you a heroine as ugly and small as myself, and she will be as interesting to the reader as yours.”1

Jane's plainness is constantly emphasized by the author in the speech of various characters, in her internal monologue, and in the narrative itself. So, the maid Abbott simply calls her a freak (such a little toad as that p. 39.). Rochester, when he first meets her, says that she looks like a person from the other world (you have rather the look of another world), like a family

Rivers, she gives the impression of a pale, very ugly girl, devoid of charm (pallid... not at alt handsome... grace and harmony of beauty are quite wanting in those features).

Drawing the image of Jane, Brontë shows her as an extraordinary, thinking girl with strong will and spiritual purity.

We meet Jane's characteristics, as well as her appearance, in the speech of other characters and in the internal monologue. Already in the first chapters of the novel, where the author describes Jane's life in the Reed house, we can get an idea of the girl's character. From the statements of Mrs. Reed, her children, and mainly the servants. Thus, the servant Besi, who takes pity on the girl, considers her a strange child; When talking about Jane she constantly uses the word “thing”, Little roving solitary thing... a queer frightened shy little thing... you little sharp thing...(small, lonely creature...strange, scared, shy little creature...you are a small, observant creature). Another maid in the Reed-Abbott house also calls her a “hidden creature” ( thing Fa -5).

The characteristics that the characters in the novel give to Jane Eyre, to some extent, also serve as characteristics of themselves. So, Blanche’s words about Jane are “creeping creature” (nonentity), “that person” (this person); the contemptuous tone in Blanche’s speech is not accidental: it emphasizes the disdainful attitude of a spoiled aristocrat towards a girl who lives by her own labor.

From the characters' statements about Jane, we learn about her character traits. Rosamond Oliver considers Jane calm, balanced, firm in her decisions, St. John, wanting to convince Jane that she has the qualities necessary for a missionary’s wife, says: “You are diligent, understanding, unselfish, truthful, constant and fearless.” The statements of St. John and Rochester about her self-sacrifice are also essential for the characterization of Jane. When Jane agrees to marry the blind cripple Rochester, the latter says that she "finds joy in sacrifice"

(you delight in sacrifice). Saint John expresses the same idea more sublimely: “...a soul that revelled in the flame and excitement of sacrifice” (a soul that experiences pleasure in the exciting flame of sacrifice). For St. John, this is connected with Jane's attitude towards the inheritance that she divided between him and his sisters; To voluntarily give money, according to St. John, is a very big sacrifice, which is why he talks about it so pompously.

We receive a detailed description of Jane's appearance related to her character through Mr. Rochester's monologue. He is disguised as a gypsy, Jane Eyre guesses: a flame flashes in her eyes; their gaze is transparent like dew, it is soft and full of feelings; those eyes are smiling; they are expressive; impression after impression is reflected in their depth; they are mocking, etc. He further describes the mouth: ... it loves to laugh, it is ready to express everything that the mind suggests; this is a mouth that is ready to talk a lot and smile often, to express warm human feelings; but he will remain silent about what his heart is experiencing. The forehead seems to say: “I can live alone if self-respect and circumstances require it.” Rochester does general conclusion: « the forehead declares, `Reason sits firm and holds the reins, and will not let the feeling burst away and hurry her to wild chasms …judgement hall still have the last word in every argument, and the casting vote in every decision. Strong wind, earthquake-shock, and fire may pass by: but I shall follow the guiding of that still small voice which interpres t the dictates of cjnscience." (this forehead declares: “the mind sits firmly in the saddle and holds the reins, and does not allow feelings to break out and drag it into the abyss... the decisive word in any dispute will always be with the mind. Violent winds, earthquakes, fires, so that I am not in danger, I I will follow the still small voice that expresses the dictates of my conscience” (vol. 1, p. 305).

When describing the appearance of the heroine, S. Bronte uses vocabulary of various emotional tones. Thus, speaking about the first impression that Jane made on the Rivers, she uses figurative means of expression and vocabulary that emphasizes the heroine’s difficult condition: comparison as white as clay or death (pale as chalk or death), expressions such as a mere spectre (just a ghost ), fleshless and haggard face... very bloodless (haggard, haggard face... completely bloodless). Rochester, in describing Jane's appearance, also often resorts to comparisons: (you look like a nun, a little pale elf, a mustard seed, etc.). On the other hand, in the description of Jane’s appearance, after she finds out that she is loved, the vocabulary of the evaluative order predominates: blooming, smiling, truly pretty, sunny-faced girl, dimpled cheeks, blissful mood, radiant hazel eyes, etc. (blooming, smiling, truly pretty, beaming girl, dimpled cheeks, blissful state, radiant brown eyes). As we see, Bronte constantly connects the description of the heroine’s appearance with her internal state and achieves this by using appropriate vocabulary and figurative expressions.

Gradually, during the course of the narrative, Brontë continues to reveal the character traits of her heroine, and the same trait is perceived differently by different characters. For example, Elena Burns condemns Jane for her impulsiveness and passion, and Rochester calls her “a self-confident, independent creature, fragile outwardly, but inflexible inwardly, freedom-loving and persistent in achieving her goal. What was unacceptable in her for the humble Elena were precisely the qualities that Rochester loved in her and St. John appreciated.

The spirit of protest and independence also makes itself felt in Jane Eyre’s relationship with her loved one. Exhausted by the strange, bizarre game that her master plays with her, Jane is, in fact, the first to tell him about her love, which was unheard of and unacceptable in a Victorian novel. Jane's very declaration of love takes on the character of a bold declaration of equality. “Or do you think that I’m an automaton, an insensitive machine?.. I also have a soul like you, and the same heart... I’m talking to you now, disdaining customs and conventions and even throwing away everything earthly...”

As already noted, the novel is narrated in the first person. The tradition of such a narrative began in the 18th century, at a time when the psychology of the hero began to attract the attention of writers. In the analyzed novel, this form of narration, as well as other features of the artistic method, contributes to a deeper revelation of the psychology of the characters.

In the analyzed novel, this form of narration, as well as other features of the artistic method, contribute to a deeper revelation of the heroine’s psychology. In the form of an internal monologue, Jane's thoughts about the morals of the people around her, norms of behavior, and her own aspirations and experiences are given. It should be noted that the internal monologue often expresses the thoughts of Charlotte Bonte herself.

In the novel “Jane Eyre,” inner speech serves as one of the main means of characterizing the heroine. The internal monologue in the novel is very emotional. A certain elation of style in the heroine’s internal monologue is achieved by using book vocabulary and complex syntax1. The most characteristic thing in the novel is the reflection of the heroine in the form of a conversation between two voices. For example, after her failed marriage to Rochester, the author describes in detail Jane’s experiences. Her hesitations and painful thoughts about her future life are given in the form of a dialogue between reason and feeling. The passage below is not only one of the most striking examples of this form of inner speech, but also seems to be characteristic of Bronte’s style of internal monologues in general.

Some time in the afternoon I raised my head and…asked `What am I to do?`

But the answer my mind gave -`Leave Thornfield at once` - was so prompt, so dreaded, that I stopped my ears: I said, I could not bear such world now. `that I am not Edward Rochester bride is the least part of my woe,` I alleged: `that I have wokened out of most glorious dreams, and found them all void and vain, is a horror I could bear and master; but that I must leave him decidedly, instantly, entirely, is intorable. I cannot do it."

But, then, a voice within me averred that I could do it, and foretold that I should do it. I wresfled with my own resolution: I wanted to be weak…but conscience, turned tyrant, held passion by the throat, told her tauntingly, she had yet but dipped her dainty foot in the slough, and swore that with that arm of iron, he would push her down to unsounded depths of agony.

`Let me be torn away, then! `I cried. `Let another help me!`

`No; you shall tear yourself away, none shall help you: you shall, yourself, pluck out your right eye: yourself cut off your right hand: your heart shall be the victim; and you, the priest to transfix it.

The emotionality with which Jane's experiences are conveyed is achieved here through various stylistic means of expression. First of all, this is a form of “polemical dialogue between reason and feeling, which actually expresses the internal struggle of the heroine, and this internal dialogue is commented on by the heroine herself. In the dialogue itself, the voice of “feeling” merges with the voice of the heroine, the voice of “reason,” although it opposes her desires, wins - Jane leaves Thornfield Castle. The entire passage has a somewhat elevated character: this is facilitated by the use of words of a bookish and literary nature ( dread- terrible, terrible, allege- approve, aver- to prove, slough- swamp).

“A ridge of illuminated heath, alive, glancing, devouring, would have been a meet emblem of my mind when I accused and menaced Mrs. Reed: the same ridge, black and blasted after the flames are dead, would have represented as meetly my subsequent condition."

“Glorious discovery to a lonely wretch!” This was wealth indeed! Wealth to the heart!

2.2 Portrait description of Rochester

Sir Rochester Fairfax is in many ways a romantic, Byronic hero - in any case, he has all the attributes of one, for example, a romantic, mysterious appearance. Even Jane's first meeting with Rochester is depicted by the author in a romantic style. From the first meeting and throughout the novel, Charlotte Bronte, through the mouth of Jane Eyre, characterizes Rochester and describes his external characteristics.

His figure was enveloped in a riding cloak, fur collared, and steel clasped; its details were not apparent…the general points of middle height, and significant breadth of chest. He had a dark face, with stern features and a heavy brow; his eyes and gathered eyebrows looked ireful and thwarted just now; he was past youth, but had not reached middle age; perhaps he might be 35.

It was difficult to see his figure, but he seemed of average height and broad shoulders. The face is dark, the features are stern, the forehead is massive. The eyes, under the fluffy fused eyebrows, burned with angry stubbornness, -

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Female characters in Charlotte Bronte's novel "Jane Eyre"

The realistic social novel of the 19th century played a major role in the history of the development of English literature, and the work of Charlotte Bronte and, in particular, her novel “Jane Eyre” left a special mark on literature. The novel was an amazing combination of topical socio-political relevance and high artistry. The main artistic discovery of the young writer was her ability to reveal the beauty and drama of the formation of the spirit in the struggle against social “fate.” The ideal of human will, not subject to public opinion, was embodied in the image of a young governess who most of all values her independence and human dignity.

The lexical and stylistic analysis of the writer’s work and the artistic features of the novel were practically not given attention, therefore, our chosen topic “Female images in Charlotte Bronte’s novel “Jane Eyre”” seems relevant and determines the main goal of the work - to reveal some features of the writer’s method in describing female images by analysis of artistic and stylistic means and, in particular, the lexical composition of the novel “Jane Eyre”.

"Jane Eyre" is built according to the compositional laws of the "novel of education." Everything That Happens to Jane Eyre - episodes in life evolution a heroine who comes through struggle, suffering and difficulties to comprehend duty, and from this comprehension to happiness.

Almost all the images in the novel are deliberate exaggeration, satirical, and sometimes romantic hyperbole. Brontë changes both the method of depiction and the emotional key of the narrative. Most of the novel fits almost entirely into the picture of a romantic novel, but there are elements of realism. Thus, we can say that in the work of Charles Bronte a special mobility of the ideological and aesthetic line between romanticism and realism was revealed. Charlotte Brontë proved herself to be a master of literary portraiture. Her work is distinguished by careful choice of words and phrases used to externally characterize the images, but the main task, which she brilliantly solved, was to show the inner world of the people she painted: she subordinated everything else to this task.

When deciding characters, Brontë resorted to various techniques letters, striving for the most expressive reproduction of what is typical for a particular personality. In some cases she is deliberately hyperbolic (Blanche Ingram and her mother Lady Ingram), in others she adheres to a strict reproduction of the life “norm” (Miss Fairfax).

We see how the local nobility are drawn, gathered in the Rochester house. Here the sting of her satire is sharper, the intonation becomes more caustic and hyperbolization is used. Blanche Ingram calls Lady Ingram “Lady Mother,” and she answers her daughter calling her nothing more than “my soul,” then “my angel,” then my lily of the valley, these absurd epithets in the mouths of well-bred ladies are not “ignorance of life,” but deliberate appeal to the grotesque.

But Bronte does not often resort to grotesque techniques. In most cases, when solving characters and painting portraits, she prefers direct realistic reflection. There are many different shades on her palette. There are a lot of female characters in the novel and each of them in one way or another influenced the fate of Jane Eyre or the development of her character, but the main female characters, in my opinion, were: Jane Eyre, Mrs. Reed and her daughters, Helen Burns, Miss Temple , Blanche Ingram and Bertha Mason.

The image of Jane Eyre, like most other images, is built on the principle of contrast, which consists in the fact that the writer contrasts the heroine’s appearance with her inner appearance. In creating the image of the heroine, Brontë set herself a goal - as opposed to the generally accepted “beauty”, which was usually portrayed in literary works, to show a plain-looking heroine, but attractive thanks to her inner world. Jane's plainness is constantly emphasized by the author in the speech of various characters. So, the maid Abbott simply calls her a “freak”; Rochester, when meeting her for the first time, says that she looks like “a person from the other world”; to the Rivers family she gives the impression of a pale, very ugly girl, devoid of charm. We meet the characteristics of Jane, as well as her appearance, in the speech of other characters, from the statements of Mrs. Reed, her children, and mainly servants. So, the maid Besya, who pities the girl, considers her a strange child, when talking about Jane she constantly uses the word “creature” (small, lonely creature, strange, frightened, shy little creature, you are a small, observant creature). Another maid in the Reed house, Abbott, also calls her a “hidden creature.” From the characters' statements about Jane, we learn about her character traits. Rosamond Oliver considers her calm, balanced, St. John says: “You are diligent, understanding, unselfish, truthful, constant and fearless.”

When describing the appearance of the heroine, S. Bronte uses vocabulary of various emotional tones. So, speaking about the first impression that Jane made on the Rivers, she uses vocabulary that emphasizes the difficult state of the heroine: the comparison “pale as chalk or death”, such expressions as “just a ghost”, “haggard, emaciated face completely bloodless”. Rochester, in describing Jane's appearance, also often resorts to comparisons: “you look like a nun, a little pale elf, a mustard seed.” On the other hand, in the description of Jane's appearance, after she finds out that she is loved, other expressive vocabulary predominates: “blooming, smiling, truly pretty, radiant girl, dimpled cheeks, blissful state, radiant brown eyes.” As we see, Bronte constantly connects the description of the heroine’s appearance with her internal state and achieves this by using appropriate vocabulary and figurative expressions. The novel is narrated in the first person, and we see that Jane’s thoughts about the morals of the people around her, norms of behavior, and her own aspirations and experiences are given in the form of an internal monologue. Inner speech serves as one of the main means of characterizing the heroine. The most characteristic thing in the novel is the reflection of the heroine in the form of a conversation between two voices. For example, after her failed marriage to Rochester, the author describes in detail Jane’s experiences. It is also worth pointing out that the characteristics that the characters in the novel give to Jane Eyre, to some extent, also serve as characteristics of themselves. Thus, Blanche’s words about Jane “nothing”, “this person”; the contemptuous tone in Igram’s speech is not accidental: it emphasizes the disdainful attitude of a spoiled aristocrat towards a girl who lives by her own labor. While Jane speaks of her as “the most spectacular, stately, slender, like a poplar and built, like Diana.” And if outwardly she aroused admiration, then by her speeches one can evaluate her internally. For her, an “ugly woman” is “an insult to nature.” And a cruel and cold look already reveals her character.

The next image is Mrs. Reed, the widow of Uncle Jane Eyre, who always could not stand this girl, but became her guardian at the behest of her husband and with great difficulty fulfilled his last wish. Mrs. Reed unfairly disadvantaged Jane by setting her own people as an example, thinking that by doing so she was eradicating Jane's bad inclinations. Described in the novel as “ruthless, heartless.” She speaks directly about the physical superiority of her children over Jane, calling her “obnoxious and disgusting.” The image of Mrs. Reed is unpleasant from the very beginning, and even before her death, Jane cannot reconcile with her aunt. We can judge her from Jane’s first monologues, “Yes, Mrs. Reed, how much mental anguish I owe to you.” In describing Mrs. Reed's appearance, Jane herself finds similarities in Mrs. Blanche, “the look was cold and cruel,” which reminded her of Mrs. Reed, and it never changed even before her death. She “dressed with taste and knew how to wear beautiful toilets,” was a “fat woman,” but her eyes never reflected “heartfelt kindness.” All this gives us a description of a domineering and selfish woman who, no matter how much she was afraid of the determined Jane, was able to say: “People think you are kind, but you are bad and have an evil heart. You are the liar." Even in her dying hours, she could not forgive Jane, did not do a good deed for her by reuniting her with her uncle, and so she died with this feeling. In order for the reader to understand the inner world of Mrs. Reed, Brontë used vocabulary that shows her obnoxiously proud character.

In the image of Helen Burns, we see Charlotte Bronte's older sister, Maria Bronte, who, like Helen, died as a result of the harsh living conditions at the Cowan Bridge Theological School. She is Jane Eyre's spiritual advisor at Lowwood. This smart and kind young girl amazes Jane with her “extraordinary intelligence and high courage.” She tells Jane that “if the whole world hates you and considers you bad, but you are clear before your own conscience, you will always find friends.” From the very beginning, having met Helen, the reader notices that all her aspirations are aimed at reunification with God, she does not care about her earthly life, she endures suffering, hoping only that very soon it will end and “real” life will begin, in Paradise. She is described as "sickly, thin, pale, with bloodless cheeks", but has a very strong character. The epithets and comparisons chosen by Bronte to describe Helen tell us about the girl’s strong soul. Jane compares her to a spring from which a pure and fiery soul flows. She never “tired of her company.” Their friendship did not last long, as Helen was ill with consumption, but it left an important mark on Miss Eyre’s life.

The image of the teacher Miss Temple in Lowwood becomes for Jane Eyre the loving “mother” she had been missing since childhood. Since Miss Temple did not have her own family, she gave her affection and care to her beloved students Helen Burns and Jane Eyre, who were defenseless. Miss Temple, as befits a real mother, taught Jane what she could do: draw and speak French, and she was also the standard of teacher that Jane tried to live up to during her time as a governess and teacher. At first sight she aroused Jane's "noble delight." “Slender, beautiful, brown eyes, long eyelashes“, noble features and movements, full of dignity,” this is how Jane saw her for the first time. Miss Temple always “encouraged by word and example” her students, urging them to go forward like “brave soldiers,” and Jane always listened to her. It was she who did not allow her to withdraw after Mr. Brocklehurst’s words and gave her the opportunity to tell her life story. Miss Temple is the person Jane needed, deprived mother's love. The character of Miss Temple is also complete; by the time she married and left Lowwood, she had fulfilled her purpose in Jane Eyre's life. She is an image that is beautiful on the outside as well as on the inside.

Since childhood, Jane Eyre had no close relatives who loved her in any way. She had no loving mother, no father, no sisters or brothers. But over time, Jane found Helen Burns, who became a gentle “sister” for her, Miss Temple, who was a loving “mother”, and also, having arrived in Thornfield, Jane Eyre met Mrs. Fairfax, who very soon became a kind and caring aunt .

From Jane Eyre's first acquaintance with Mrs. Fairfax and everything that surrounded her: “sitting in an old armchair, a clean, neat old lady” next to her, Jane saw “the ideal of home comfort.” Jane compared and saw the comfort of the house in Mrs. Fairfax herself. Mrs. Fearfax was the ideal of thoughtfulness, guardianship and good nature to the very end. Jane had “gratitude for her kindness and affectionate attitude” towards her, and returned the same respect. Miss Eyre had expected to find "stiffness and coldness" in the house, and was surprised to be treated "like guests." Charlotte, in describing Miss Fairfax and her actions, uses vocabulary that speaks of her as a kind, sympathetic and very caring person, ready to devote her life to her loved ones.

The last image that I explored was Bertha Mason. She is Mr. Rochester's legally insane wife, whom few knew about. In describing her image, a lot of grotesques were used: “bloodshot eyes, a terrible sinister face, blue-purple cheeks”; when they first met, Jane compared her to “a vampire from German fairy tales.” Her image was also compared to a creature, an “animal,” that ran on all fours and snorted and barked. Involuntarily, a woman with such a description evokes horror.

As a result, Jane Eyre, despite many obstacles and the cruelty of people, “found” all those people who replaced her loving relatives and became a “shelter” from all life’s troubles.

In their descriptions of the characters, we see a selection of epithets that describe the relationship of both the author and Jane herself. Often images show us the contrast between the appearance and inner world of the heroes.

Although Helen looked sickly and was thin, she was very courageous in character. In the descriptions of Lady Blanche, Mrs. Reed and her daughters we see a lot of grace, beauty, wealth, which does not correspond to their inner world. Their character is clear through their actions and words. The vocabulary used helps us understand a person’s inner world and compare it with the outside. creativity literature character

The image of the main character is revealed so much that we fall in love with her, sympathize with her failures and twists of fate. The combination of realistic fate with romantic twists, understatement and the end gives us a complete work that has been loved by more than one generation.

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Jane Eyre

JEN EYRE (eng. Jane Eyre) - the heroine of the novel by Charles Bronte “Jane Eyre” (1847). The novel is often called autobiographical, although the persons and events depicted in it are not directly related to the life of the author. The life story of D.E. is the fruit of fiction, but the world of her inner experiences is certainly close to Charles Bronte. The narration, coming from the heroine’s point of view, has a pronounced lyrical overtones. And although Brontë herself, unlike her heroine, who from early childhood knew all the bitterness of orphanhood and someone else’s bread, grew up in a large family, surrounded by her brother and sisters - artistic, subtle natures, she, like D.E., was destined outlive all your loved ones. S. Brontë passed away at the age of thirty-nine, having buried her brother and sisters, never having known the joys of marriage and motherhood that she so generously endowed with her literary heroine.

“I remember a trembling, fragile creature, a small palm, big black eyes. Perhaps the main feature of her character was ardent honesty, her favorite author UM wrote about S. Bronte. Thackeray, to whom she dedicated the second edition of her novel. “She carried out judgment on her contemporaries, with particular sensitivity catching arrogance and falsehood in them. A great sacred respect for truth and justice always lived in her soul.”

In this portrait one can discern the features not only of S. Brontë, but also of the heroine she created. In D.E. we find the same inflexibility, honesty, moral rigorism. The heroine’s words: “Women experience the same things as men; they have the same need to demonstrate their abilities and seek a field of activity for themselves as their male counterparts; forced to live under the harsh yoke of tradition, in an inert environment, they suffer in exactly the same way as men would suffer in their place” - sounds like the author’s credo and the key to reading the novel.

S. Brontë and her sisters overcame the routine of their parsonage through creativity. D.E. - an orphan, warmed up out of mercy in the family of her aunt, then a pupil of the Lowood Orphanage - realizes teaching as her life's work. Emphasizing the outward inconspicuousness of her beloved heroine, Bronte insists on the originality of her spiritual beauty. Directness, sincerity, and fortitude that distinguish D.E. from the aristocrats presented in the novel, they attract the attention of Edward Rochester, into whose rich house she enters the role of governess. In her love for Mr. Rochester, the full depth of her nature is revealed. Forced to flee his house so as not to sin against the moral purity of their love union, D.E. returns to him at one o'clock severe tests, becoming his wife, friend, restoring his lost vision and self-confidence.

With all the concreteness of D.E.’s social and everyday depiction, this “romantic heroine in the non-romantic strata of society” (E. Genieva) represents another, so popular in English literature of the 19th century. modification of the image of Cinderella. Along with the positive heroines of D. Austin, C. Dickens, W. M. Thackeray, D. E. represents the idea that spiritual nobility, modesty, hard work and faith will ultimately be rewarded. And although at the end of the novel the heroine does not expect a palace and glass slippers, family peace, peace of mind and happy motherhood are guaranteed to her.

Lit.: Genieva E. Indomitable spirit // Bronte S. Jen Eyre. Poems. M., 1990.

All characteristics in alphabetical order:

Charlotte Bronte

2.1 Portrait image of Jane Eyre

One of the main advantages of the novel "Jane Eyre" is the creation positive image heroines. The novel attracted and amazed readers with the image of a brave and pure girl, alone leading a difficult struggle for existence.

The image of Jane Eyre, like most other images, is built on the principle of contrast, which in this case consists in the fact that the writer contrasts the heroine’s appearance with her inner appearance. When creating the image of the heroine, Brontë set herself a goal - in contrast to the generally accepted “beauty”, which was usually depicted in literary works, to show a plain-looking heroine, but attractive due to her inner nobility. In his book about Brontë, Gaskell quotes from the anonymous obituary, “On the Death of Correll Bell,” in which the author writes:

Rivers, she gives the impression of a pale, very ugly girl, devoid of charm (pallid... not at alt handsome... grace and harmony of beauty are quite wanting in those features).

Drawing the image of Jane, Bronte shows her as an extraordinary, thinking girl with a strong will and spiritual purity.

We meet Jane's characteristics, as well as her appearance, in the speech of other characters and in the internal monologue. Already in the first chapters of the novel, where the author describes Jane's life in the Reed house, we can get an idea of the girl's character. From the statements of Mrs. Reed, her children, and mainly the servants. Thus, the servant Besi, who takes pity on the girl, considers her a strange child; When talking about Jane she constantly uses the word “thing”, Little roving solitary thing... a queer frightened shy little thing... you little sharp thing... ). Another maid in the Reed house, Abbott (thing Fa -5), also calls her a “hidden creature”.

We receive a detailed description of Jane's appearance related to her character through Mr. Rochester's monologue. He is disguised as a gypsy, Jane Eyre guesses: a flame flashes in her eyes; their gaze is transparent like dew, it is soft and full of feelings; those eyes are smiling; they are expressive; impression after impression is reflected in their depth; they are mocking, etc. He further describes the mouth: ... it loves to laugh, it is ready to express everything that the mind suggests; this is a mouth that is ready to talk a lot and smile often, to express warm human feelings; but he will remain silent about what his heart is experiencing. The forehead seems to say: “I can live alone if self-respect and circumstances require it.” Rochester makes a general conclusion: “the forehead declares, `Reason sits firm and holds the reins, and will not let the feeling burst away and hurry her to wild chasms …judgement hall still have the last word in every argument, and the casting vote in every decision. Strong wind, earthquake-shock, and fire may pass by: but I shall follow the guiding of that still small voice which interpres t the dictates of cjnscience." (this forehead declares: “the mind sits firmly in the saddle and holds the reins, and does not allow feelings to break out and drag it into the abyss... the decisive word in any dispute will always be with the mind. Violent winds, earthquakes, fires, so that I am not in danger, I I will follow the still small voice that expresses the dictates of my conscience” (vol. 1, p. 305).

When describing the appearance of the heroine, S. Bronte uses vocabulary of various emotional tones. So, speaking about the first impression that Jane made on the Rivers, she uses figurative means of expression and vocabulary emphasizing the difficult state of the heroine: comparison as white as clay or death (pale as chalk or death), expressions such as a mere spectre (just a ghost), fleshless and haggard face... very bloodless (haggard, haggard face... completely bloodless) . Rochester, in describing Jane's appearance, also often resorts to comparisons: (you look like a nun, a little pale elf, a mustard seed, etc.). On the other hand, in the description of Jane’s appearance, after she finds out that she is loved, the vocabulary of the evaluative order predominates: blooming, smiling, truly pretty, sunny-faced girl, dimpled cheeks, blissful mood, radiant hazel eyes, etc. (blooming, smiling, truly pretty, beaming girl, dimpled cheeks, blissful state, radiant brown eyes). As we see, Bronte constantly connects the description of the heroine’s appearance with her internal state and achieves this by using appropriate vocabulary and figurative expressions.

In the novel “Jane Eyre,” inner speech serves as one of the main means of characterizing the heroine. The internal monologue in the novel is very emotional. A certain elation of style in the heroine's internal monologue is achieved by using book vocabulary and complex syntax 1. The most characteristic thing in the novel is the reflection of the heroine in the form of a conversation between two voices. For example, after her failed marriage to Rochester, the author describes in detail Jane’s experiences. Her hesitations and painful thoughts about her future life are given in the form of a dialogue between reason and feeling. The passage below is not only one of the most striking examples of this form of inner speech, but also seems to be characteristic of Bronte’s style of internal monologues in general.

Some time in the afternoon I raised my head and…asked `What am I to do?`

`Let me be torn away, then! `I cried. `Let another help me!`

The emotionality with which Jane's experiences are conveyed is achieved here through various stylistic means of expression. First of all, this is a form of “polemical dialogue between reason and feeling, which actually expresses the internal struggle of the heroine, and this internal dialogue is commented on by the heroine herself. In the dialogue itself, the voice of “feeling” merges with the voice of the heroine, the voice of “reason,” although it opposes her desires, wins - Jane leaves Thornfield Castle. The entire passage is somewhat elevated in nature: this is facilitated by the use of words of a bookish and literary nature (dread - terrible, terrible, allege - to assert, aver - to prove, slough - swamp).

“Glorious discovery to a lonely wretch!” This was wealth indeed! Wealth to the heart!

2.2 Portrait description of Rochester

It was difficult to see his figure, but he seemed of average height and broad shoulders. The face is dark, the features are stern, the forehead is massive. His eyes, under his fluffy, fused eyebrows, glowed with angry stubbornness - he could have been about 35 years old.

Brontë, showing us Mr. Rochester, draws more of him external features faces.

…his decisive nose, more remarkable for character than beauty; his full nostrils... his grim mouth, clin and yaw - yes, all three were very grim... it was a good figure in the athletic sense of the term - broad chested and thin flanked; though neither tall nor graceful.

“... a sharply defined nose, more characteristic than beautiful, flaring nostrils... hard contours of the lips and chin. Not distinguished by either tallness or grace, he was nevertheless built excellently, for with broad shoulders and chest he had a slender figure.”

The author emphasizes the gloomy gloom of the hero. Rochester is ugly, but his very uglyness is expressive and significant. He is disappointed and shrouded in mystery. He talks a lot and very vaguely about himself and makes it clear to Jane from the very first conversations that his conscience is restless, that his everyday experience is of a nature that society disapproves of.

His form was of the same strong and stalwart contour as ever: his port was still erect, his hair was still raven black; nor were his feature altered or sunk: not in one years space, by any sorrow, could his athletic strength be quelled, or his vigorous prime blighted. But in his countenance...that looked desperate and brooding- that reminded me of some wronged and fettered wild best or bird, dangerous to approach in his sullen woe. The cadet eagle, whose gold-ringer eyes cruelty has extinguished, might look as looked that sightless Samson.

Rochester can be selfish and treacherous. In a word, in Rochester, unlike the other heroes of the novel, there is much of the traditional romantic loner hero. Rochester, with his dark mop of hair, fiery eyes and courageous appearance, evokes the images of the Giaour and the images of other heroes of Byron. But in this situation this is justified, because all the romantic feelings of Jane Eyre are associated with the image of Rochester.

Blind as he was, smiles played over his face, joy dawned on his forehead: his lineaments softened and warmed.

2.3 Charlotte Brontë as a master of landscape

Charlotte Bronte proved herself to be a brilliant master of landscape. She saw the world through the eyes of an artist, and she was not only a writer, but also an artist. The nature described in her novel is beautiful and infinitely diverse. northern England, all these heather valleys and hills, now shrouded in a blue haze, now bathed in moonlight or icy, carved by a cold wind.

Descriptions of nature are subordinated to action. We will not encounter a single “neutral” landscape. Nature serves as one of the means of revealing characters in the novel.

From the very beginning of the novel "Jane Eyre" the landscape is in tune with the experiences of little Jane. She has a hard time living with her aunt, where the children bully her and Mrs. Reed constantly and unfairly punishes her. The nature that the author draws here is in tune with the heroine’s mood - sad, dreary: rain, wind, cloudy sky and cold. It is no coincidence that the events that the author narrates here take place in autumn and winter. It is autumn and winter that best emphasize the darkness and melancholy in Jane’s soul.

The emotionality of the description is enhanced by epithets: ceaseless rain (endless rain), black frost (gloomy frost), opaque sky (gloomy sky), howling wind (howling wind), beclouded sky (cloudy sky), lamentable blast (plaintively moaning wind) and many others .

Not only figurative means of expression, but also the vocabulary literally used by Bronte to describe late autumn contributes to the creation of an atmosphere of gloom and melancholy. Nature is the background for little Jane's gloomy thoughts; it is in complete harmony with her mood. The landscape here is not divorced from a person, but is given through the perception of the heroine, whose mood it illustrates.

In the chapters dedicated to Lockwood Shelter, the landscape is also gloomy and harsh: the iron sky of winter, mists as chill as death, that beck a raving sound wild rain or whirling sleet (heavy rain or the howl of a blizzard), the forest showed sleet only ranks of skeletons (instead of a forest there were dead trees). The description here is even more emotional and figurative compared to the first chapters. Nature in these chapters serves as the backdrop for an even darker period in Jane's life.

In some cases, nature in the novel serves not only as a backdrop for the heroine’s experiences, but also becomes, so to speak, an active force.

Thus, an example of the active role of landscape is the description of the storm during the explanation of Jane and Rochester. By proposing to Jane, Rochester, according to Bronte, violates social and moral laws. The writer expresses her attitude to this symbolically, describing the wrath of nature.

But what had to fall the night? The moon was not yet set, and we were all in shadow... and what ailed the chestnut tree? It writ and groaned; while the wind roared in the laurel walk…a liquid, vivid spark leapt out of a cloud at which. I was looking, and there was a crack, a close rattling peal... Before I left my bed in the morning, little Adele came running in to tell me that the great horse chestnut at the orchard had been struck by lightning in the night, and half of it split away.

The thunderstorm that broke out while Rochester was proposing to Jane is a symbolic warning, and the chestnut tree that was split by lightning is the embodiment of the impossibility of their marriage. Living together Jane and Rochester's marriage must be sanctioned, and pure, unspoiled nature opposes Rochester's action and, as it were, warns Jane. In this case, the landscape is not a passive background of the events described, but a symbolic image of the author’s attitude to what is happening; nature actively intervenes in the fate of the heroine.

The description of the moon on the eve of Jane's wedding plays a similar role.

“The moon appeared momentarily...her disk was blood-red and half overcast; she seemed to throw on me one bewildered? Dreary glance and buried herself again instantly in the deep drift of cloud" (The moon appeared for a moment... its disk was blood red and half covered with clouds; it seemed that she cast a sad, confused look at me and immediately hid in a thick veil of clouds" T 2, p. 84).

The personification of the moon, its confused, sad look - all this seems to be preparing a tragic denouement. With the help of personification, Bronte transforms inanimate nature into an animate being, as if reacting to current events.

The use of landscape as a special artistic medium is characteristic of the Bronte style. The chestnut split on the night of Jane and Rochester's explanation appears later both in Jane's internal monologue and in Rochester's speech. In Jane's thoughts on the eve of the wedding, the author develops this image - the chestnut stood black, charred, split in two; the tree did not fall apart only because it had strong roots that held it up. The chestnut was a dead ruin, but invisible to the eye both fragments were connected to each other. And the author’s description of the chestnut and Jane’s thoughts about it - all this serves as a symbolic image of the future of Jane and Rochester, their broken happiness; Even though they break up, they continue to love each other. The deep roots of the chestnut tree connecting the charred rubble symbolize the faithful, deep love of Jane and Rochester, which endures difficult trials but triumphs.

In some cases, Brontë's landscape becomes a metaphorical description of the heroine's experiences. These are Jane's thoughts after the failed marriage:

“A Christmas frost had to come at midsummer; a white December strom had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hey-field and corn-field lay a frozen shroud: lanes which last night blushed full of flowers, to-day were pathless with untrodden snow...” (In the middle of the summer, the Christmas frost struck; in June, a snowy December blizzard swept through; frost bound the ripe apples ; icy winds crushed the blooming roses; a white shroud lay in the fields and meadows; lawns, covered with flowers yesterday, today became impassable due to deep snow...")

If at the beginning of the novel the cold winter and dreary autumn served as the backdrop for the description of Jane's hard life, here the contrast of the dark cold winter with the blooming fragrant summer is the very description of Jane's experiences in the form of an extended metaphor.

Nature plays the same role in describing the confusion that Jane experiences when she realizes that she has fallen in love with Rochester. Here again the landscape appears as an extended metaphor in Jane's internal monologue.

I regained my couch, but never thought of sleep. Till morning dawned I was tossed on a buoyant but unquiet sea, where bills of trouble rolled under surges of joy. I thought sometimes I saw beyond its wild waters a shore, sweet as the hills of Benlah; and now and then a freshening gale awakened by hope, bore my spirit triumphantly towards the bourne: but I could not reach it, even in fancy, a counteracting breeze blew off the land and continually drove me back.

The stormy waves of life into which fate throws her, the inability to reach a happy shore - all this is a figurative description of what awaits Jane in the future. Various artistic means, one of which is the use of landscape, Brontë prepares the reader for a tragic outcome. The landscape here, as throughout the novel, plays a big role in creating the image.

Thus, the landscapes that the writer so artistically paints not only make it possible to clearly see the scene of action, but also help to more deeply understand the subtle artistic nature of the heroine. Apparently, the fact that the author was also an artist helped her so organically and subtly weave the colors and smells of northern England into the fabric of the narrative.

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Jane Eyre

Charlotte Bronte

2.1 Portrait image of Jane Eyre