At the beginning of chapter 23, we first see the hint that Jane and Rochester are going to have some sort of 'moment'. Rochester states that no one could miss the "sunset...meeting with moonrise." This foreshadows the joining of R and Jane. Two contrasting things come together, the light of the day and the dark of the night; the sunrays from Rochester and the moonlight from Jane. As exciting as this encounter is, I wonder what really is going to happen, for knowing Bronte, the love story won't end with over 200 pages left. Towards the end of this chapter, I began to wonder if these two are really destined for eachother, as much as I want to think so. Once Jane has agreed to marry Rochester and they both discuss their happiness, thunder strikes and the weather turns. Is this a bad omen? The moment is ruined and they must run inside (still sharing a kiss before they part). This "vivid spark" that "cracks...crash[es]... and rattl[es]" can only make me assume that things will take a turn for the worst. The splitting of the old horse-chestnut tree in the orchard also makes me feel uneasy. Although it could possibly symbolize the splitting of old ways and principles of marriage, I am assuming it occurst to warn the reader.
I also noticed the use of the word 'efface' at the end of this chapter and my mind instantly flashed to when Jane and R first meet. Rochester's bold entrance with his clammering horse "efface[s] the soft wave-wanderings" and Jane's peace with nature. Perhaps this is simply coincidence, or Bronte is purposely trying to bring the reader back to their original meeting.
On page 294, I get a flash of female inferiority in this book. Although I like to think that R is so madly in love with Jane that he simply must her Jane accept his proposal, I can't help but notice his quest for possession of Jane. He asks Jane, "I must have you for my own - entirely my own. Will you be mine?" Although this is his quest for Janes confession of love, his male 'superiority' also seems to come into play.
When Jane goes off on Rochester, exclaiming why she must go, I am reminded of her encounter with Mrs. Reed when she first leaves Gateshead. Her "passion" is unveiled and she exclaimes that although she may be "poor, obscure, plain, and little", she is NOT "soulless and heartless". I'm glad she finally tells Rochester that she can't just sit by and watch R and Ingram live "happily ever after". Her reaction to Rochester's request is surprising but also empowering. Instead of destroying everything she stands for and simply falling for him, she sticks up for herself and recognizes that she must be treated as an "equal". She realizes that although she doesn't have the class and rank that R and Ingram have, she is "better than [Rochester]". Which is true. She knows what she wants and is willing to go against society and old ways if it is necessary. Rochester is the one who is willing to do something that doesn't truly fit his heart(marry Ingram), and that is what ultimately makes Jane superior, despite everything else.
When reading, I was reminded of the notion of gameplaying, as we discussed in class. We've seen games earlier in this book, and I am often forced to question Rochester's true motives. For he probably doesn't even recognize his true motives. Jane quotes "you play a farce, which I merely laugh at." She has her guard up, for so many times Rochester has yanked on her heart. This is smart of her, but still doesn't fit with the fairy tale ending. Not that Charlotte Bronte would really write a Cinderella story. Gothic novels don't fit with enchanted romances...
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3 comments:
This is an amazingly detailed reaction to Chapter 23. I hadn't caught the word "efface" but now that you have pointed it out I am surprised that I couldn't. That is a very intriguing view that I strongly agree with. I posted a blog that also dealt with the metaphor and significance of the tree, and i tried to make a bolder, less-founded assumption that probably makes little sense but still.
Excellent use of the text! (I wish everyone would read this post and use it as a model). Keep up this close reading, as I feel certain that your attentiveness to the actual language in which all of this is cast will ultimately pay off (it's certainly going to make your first formal essay easier!).
As for Rochester's oddly violent proposal--is this evidence of male bluster (and assertion of superiority), or does Rochester (with his "teeth set" and all) find he must push past some hidden impediment in order to grasp a love that is barely within his reach? I wonder...
I wonder if Bronte means anything more than just the meeting of two very big differences when (as Sarah points out) "the sunset meets the moonrise." (Thanks!) I can't help but wonder what Bronte is saying about their relationship, other than the fact that they seem to be such opposites in character. One shines through the darkness, waxing and waning throughout time. (I have seen Jane's passionate character flowing and ebbing in different circumstances) And the sunshine can just as easily be masked under stormy clouds, as Rochester's happiness can easily waver. But the main point I want to make is that basic astronomy teaches us that the moon would not shine save it be the sun. Does Bronte mean for us to believe that Jane's happy persona is even greater under the influence of Rochester, or his love? The way I see it, if it was the former, then Bronte's empowering of womanhood may just be shot to the ground. Yet, if it is his love that Jane's happyness revolves around, where do we draw the line between her love for him and her dependency on him? Just a few brief and discombobulated thoughts.
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