Chapter 20 is the culmination of all the gothic symbols reference throughout the book up until this chapter, and in it we see the use of the moon, blood, animalistic symbolism, religious themes, and the language used within the chapter. The moon is a predominant feature of this chapter of Jane Eyre, but also features throughout the book.
This novel comes at a time the middle of the 19th century when Gothic fiction was falling out of fashion. As such, we find in Jane Eyre a much more toned down Gothic experience when compared to earlier authors such as Ann Radcliffe and Matthew Lewis.
In effect, this exploration of Gothic themes in Jane Eyre is predicated not only on their occurrence in the novel, but also on their relatively subtle nature and rational padding. Furthermore, a major aspect of the charm of the novel is that it is not an easy-to-categorize genre piece.
Rather than consider it to be an example of Gothic fiction, it is more accurate to consider Jane Eyre a unique and timeless novel with many elements of Gothic fiction.
Setting is arguably the lifeblood of any Gothic novel. The setting in Jane Eyre is touched with Gothic elements right from the very beginning. This desolate location generates a gloomy and chilling mood typical of the Gothic genre.
The religious edifice is a common staple of the Gothic setting and under the propriety of the staunchly religious Mr. Brocklehurst, it is easy to see Lowood as such. Her initial joy upon learning that she is to be wed to Mr. Rochester brings an abrupt change to the otherwise gloomy weather: Jane herself even acknowledges the relationship between the weather and herself.
After discovering that she had narrowly escaped a sham marriage with Mr. Jane goes on to ponder her despair and woe regarding this most unfortunate turn of events.
No Gothic novel would be complete without mystery and suspense. More specifically, she has to contend with the curious laughter she hears from the third floor, Mr. It is not until much later that she learns Bertha Mason, Mr. Speaking of Bertha Mason, another Gothic trope is that of madness and aristocratic decay, something that Bertha seamlessly exemplifies as a raving madwoman, despite her privileged extraction.
The cornerstone of any Gothic narrative is the supernatural. This is an otherwise unused room in which Mr. Reed had died nine years before. It is however implied that Jane merely imagines the ghostly presence in the room and is adept at not letting herself become entirely overcome with fear.
There is, however, one logically unexplainable supernatural occurrence of note toward the end of the novel. One night at Moor House, Jane inexplicably hears someone calling her name from afar. It is not until her reunion with Mr. Rochester that she learns it was he who had called to her on that very night and that he had heard her response as well.
However, Jane is quick to withhold the matter rather than discuss it at length: If I told anything, my tale would be such as much necessarily make a profound impression on the mind of my hearer: Finally we come to Jane herself, who partially exemplifies the Gothic trope of the virginal maiden.Wuthering Heights -- with an Introduction By Rose Macaulay [Emily Bronte] on r-bridal.com *FREE* shipping on qualifying offers.
Published by Triangle Books, 5th Printing, May Triangle Book Editions are published and distributed by Blue Robbon Books. Read more about Kingston University London's English BA(Hons) degree. This course covers authors from Chaucer to the present day, examining literature's relationship with culture, politics and individual identity.
You will study fiction, drama and poetry. USE OF GOTHIC ELEMENTS IN CHARLOTTE BRONTE'S JANE EYRE' Charlotte Bronte's "Jane Eyre" was published in the middle of the nineteenth century.
Bronte was greatly influenced by the Gothic novels that were in fashion before the time of Jane Eyre. On the other hand, these texts picture female desires in exploring the themes of identity and. Course Summary English English Literature has been evaluated and recommended for 3 semester hours and may be transferred to over 2, colleges and universities.
Edited by Rictor Norton (London and New York: Leicester University Press, ) Gothic Readings: The First Wave, is an anthology of Gothic literature, set within the context of contemporary criticism and readers' responses.
It includes selections from the major practitioners (including Horace Walpole, William Beckford, Ann Radcliffe, Matthew Gregory Lewis, Samuel Taylor Coleridge. While Charlotte Bronte's Jane Eyre is not traditionally (and singularly) considered a Gothic novel.
It is, rather, a "trifecta" (triple) of sorts. The novel is Gothic (mysterious regarding.