Thursday, April 13, 2017
Question 8: Language Part 3
I have elected to use my Poetry Outloud Assignment pass for this blog post.
Question 7: Language part 2
Excerpt: (pg. 131)
The ground was hard, the air was still, my road was
lonely; I walked fast till I got warm, and then I walked
slowly to enjoy and analyse the species of pleasure
brooding for me in the hour and situation. It was three
o’clock; the church bell tolled as I passed under the belfry:
the charm of the hour lay in its approaching dimness, in
the low-gliding and pale-beaming sun. I was a mile from
Thornfield, in a lane noted for wild roses in summer, for
nuts and blackberries in autumn, and even now possessing
a few coral treasures in hips and haws, but whose best
winter delight lay in its utter solitude and leafless repose. If
a breath of air stirred, it made no sound here; for there was
not a holly, not an evergreen to rustle, and the stripped
hawthorn and hazel bushes were as still as the white, worn
stones which causewayed the middle of the path. Far and wide, on each side, there were only fields, where no cattle
now browsed; and the little brown birds, which stirred
occasionally in the hedge, looked like single russet leaves
that had forgotten to drop.
Why I Chose this excerpt:
I think, one challenge that writers face in a book that lacks a lot of action like this one, is making sure that it is realistic enough for the audience to connect to. Because they can be at times boring to read, there has to be some sort of investment in the book. Bronte partially accomplished this with her breaking of the third wall (discussed in the previous blog), but another way she forces the audience to care about the story was by making it realistic to the point that the audience could physically put themselves in the position of the character. Readers do this all the time while reading but when the character feels as real as Jane did in this story, it takes on new layer of investment.
The passage above was not singled out for any reason, and there were plenty of other passages that would have worked. This is true because I want to look at the wording chosen for Jane's description of the scene around her. The diction used throughout this passage fits Jane to a tee. She is clearly educated based on lines such as "but whose best winter delight lay in its utter solitude and leafless repose". An english peasant would not use "delight" or "repose" in their descriptions. But with this, you can also tell that she is not of the highest education because of the opening line, "The ground was hard, the air was still, my road was lonely". I would imagine a university graduate to say something along the lines of "The compact earth, the air halcyon, my passage empty." This happy medium that Bronte found makes Jane a much more realistic character and a much more relatable character. Without this aspect of the book, I highly doubt it would be as nearly as successful as it is. There is little plot (of interest anyway), and the story is fine at best, but the book connect with it's readers. You not only observe Jane's horrible life, you experience it with her.
Why I Chose this excerpt:
I think, one challenge that writers face in a book that lacks a lot of action like this one, is making sure that it is realistic enough for the audience to connect to. Because they can be at times boring to read, there has to be some sort of investment in the book. Bronte partially accomplished this with her breaking of the third wall (discussed in the previous blog), but another way she forces the audience to care about the story was by making it realistic to the point that the audience could physically put themselves in the position of the character. Readers do this all the time while reading but when the character feels as real as Jane did in this story, it takes on new layer of investment.
The passage above was not singled out for any reason, and there were plenty of other passages that would have worked. This is true because I want to look at the wording chosen for Jane's description of the scene around her. The diction used throughout this passage fits Jane to a tee. She is clearly educated based on lines such as "but whose best winter delight lay in its utter solitude and leafless repose". An english peasant would not use "delight" or "repose" in their descriptions. But with this, you can also tell that she is not of the highest education because of the opening line, "The ground was hard, the air was still, my road was lonely". I would imagine a university graduate to say something along the lines of "The compact earth, the air halcyon, my passage empty." This happy medium that Bronte found makes Jane a much more realistic character and a much more relatable character. Without this aspect of the book, I highly doubt it would be as nearly as successful as it is. There is little plot (of interest anyway), and the story is fine at best, but the book connect with it's readers. You not only observe Jane's horrible life, you experience it with her.
Question 6: Language Part 1
Excerpt: (pg. 111)
Reader, though I look comfortably accommodated, I am not very tranquil in my mind. I thought when the coach stopped here there would be some one to meet me; I looked anxiously round as I descended the wooden steps the ‘boots’ placed for my convenience, expecting to hear my name pronounced, and to see some description of carriage waiting to convey me to Thornfield. Nothing of the sort was visible; and when I asked a waiter if any one had been to inquire after a Miss Eyre, I was answered in the negative: so I had no resource but to request to be shown into a private room: and here I am waiting, while all sorts of doubts and fears are troubling my thoughts.
Why I chose this excerpt:
I would not be doing right by the book to ignore Bronte's breaking of the third wall, for this language question. Because it is written in the first person and is narrated from Jane's point of view, when Bronte breaks the wall and directly addresses the reader it adds a layer to the book that, I think, makes Jane Eyre so special. With phrases like, "Reader, though I look comfortably accommodated" Bronte creates a fireside conversation like atmosphere. This atmosphere makes the book more enjoyable because it is as if you're sitting down with a relative listening to the stories of their life. The "I"s are just as important as the "reader"s to create this feeling. Most novelists avoid using "I" in reference to the writer (obviously they use it when characters revere to themselves, but that's different), but Bronte uses it freely and it is an aspect of the book that I really like. I really like this layer she adds because it makes me feel more invested into Jane. At times, this book can be arduous but when it feels like a conversation it makes it easier for me to stay focused on the story because I now care about what happens next to Jane (even if it's not always that interesting).
Reader, though I look comfortably accommodated, I am not very tranquil in my mind. I thought when the coach stopped here there would be some one to meet me; I looked anxiously round as I descended the wooden steps the ‘boots’ placed for my convenience, expecting to hear my name pronounced, and to see some description of carriage waiting to convey me to Thornfield. Nothing of the sort was visible; and when I asked a waiter if any one had been to inquire after a Miss Eyre, I was answered in the negative: so I had no resource but to request to be shown into a private room: and here I am waiting, while all sorts of doubts and fears are troubling my thoughts.
Why I chose this excerpt:
I would not be doing right by the book to ignore Bronte's breaking of the third wall, for this language question. Because it is written in the first person and is narrated from Jane's point of view, when Bronte breaks the wall and directly addresses the reader it adds a layer to the book that, I think, makes Jane Eyre so special. With phrases like, "Reader, though I look comfortably accommodated" Bronte creates a fireside conversation like atmosphere. This atmosphere makes the book more enjoyable because it is as if you're sitting down with a relative listening to the stories of their life. The "I"s are just as important as the "reader"s to create this feeling. Most novelists avoid using "I" in reference to the writer (obviously they use it when characters revere to themselves, but that's different), but Bronte uses it freely and it is an aspect of the book that I really like. I really like this layer she adds because it makes me feel more invested into Jane. At times, this book can be arduous but when it feels like a conversation it makes it easier for me to stay focused on the story because I now care about what happens next to Jane (even if it's not always that interesting).
Question 5: Setting
Excerpt: (pg. 113)
Again I looked out: we were passing a church; I saw its
low broad tower against the sky, and its bell was tolling a quarter; I saw a narrow galaxy of lights too, on a hillside,
marking a village or hamlet. About ten minutes after, the
driver got down and opened a pair of gates: we passed
through, and they clashed to behind us. We now slowly
ascended a drive, and came upon the long front of a
house: candlelight gleamed from one curtained bow-
window; all the rest were dark. The car stopped at the
front door; it was opened by a maid-servant; I alighted and
went in.
‘Will you walk this way, ma’am?’ said the girl; and I followed her across a square hall with high doors all round: she ushered me into a room whose double illumination of fire and candle at first dazzled me, contrasting as it did with the darkness to which my eyes had been for two hours inured; when I could see, however, a cosy and agreeable picture presented itself to my view.
Why I chose this excerpt:
Jane Eyre takes place in 19th century England. It starts in Jane's childhood at her aunt's home, Gateshead. Jane then goes to school at Lowood where she graduates and then teaches afterwards for a brief period. But most of the book takes place at her next place of employment and the home of Mr. Rochester, Thornfield. Above is her first description of the grounds.
I chose this excerpt because I believe it symbolically represents Jane's life. Jane's life is miserable, but Thornfield is a place of rebirth for Jane. She has friends who care for her, and she for them. She loves Adel, her student and she falls in love with Mr. Rochester. Despite all of these positive swings she describes the house having "candlelight gleam[ing] from one curtained bow- window; all the rest were dark." Light (generally used as a symbol of hope) is missing from this picture because Jane's life will not markedly improve with this home. She does get happiness out of the things mentioned before, but it doesn't last. Her marriage is ruined by Mr. Rochester's first wife and she abandons Thornfield leaving Adel and her coworker friends behind.
The overall setting of the story, has great affect on the reader. Jane is constantly surrounded by wealthy people yet she rarely gets to benefit from the prosperity around her. Her life is so difficult and the "villains" of this story have it so easy, that it makes it easier for the audience to associate with Jane and hate the "villians".
‘Will you walk this way, ma’am?’ said the girl; and I followed her across a square hall with high doors all round: she ushered me into a room whose double illumination of fire and candle at first dazzled me, contrasting as it did with the darkness to which my eyes had been for two hours inured; when I could see, however, a cosy and agreeable picture presented itself to my view.
Why I chose this excerpt:
Jane Eyre takes place in 19th century England. It starts in Jane's childhood at her aunt's home, Gateshead. Jane then goes to school at Lowood where she graduates and then teaches afterwards for a brief period. But most of the book takes place at her next place of employment and the home of Mr. Rochester, Thornfield. Above is her first description of the grounds.
I chose this excerpt because I believe it symbolically represents Jane's life. Jane's life is miserable, but Thornfield is a place of rebirth for Jane. She has friends who care for her, and she for them. She loves Adel, her student and she falls in love with Mr. Rochester. Despite all of these positive swings she describes the house having "candlelight gleam[ing] from one curtained bow- window; all the rest were dark." Light (generally used as a symbol of hope) is missing from this picture because Jane's life will not markedly improve with this home. She does get happiness out of the things mentioned before, but it doesn't last. Her marriage is ruined by Mr. Rochester's first wife and she abandons Thornfield leaving Adel and her coworker friends behind.
The overall setting of the story, has great affect on the reader. Jane is constantly surrounded by wealthy people yet she rarely gets to benefit from the prosperity around her. Her life is so difficult and the "villains" of this story have it so easy, that it makes it easier for the audience to associate with Jane and hate the "villians".
Question 4: Themes
Excerpt: (pg. 276)
I approached my cheek to her lips: she would not
touch it. She said I oppressed her by leaning over the bed,
and again demanded water. As I laid her down—for I
raised her and supported her on my arm while she
drank—I covered her ice-cold and clammy hand with
mine: the feeble fingers shrank from my touch—the
glazing eyes shunned my gaze.
‘Love me, then, or hate me, as you will,’ I said at last, ‘you have my full and free forgiveness: ask now for God’s, and be at peace.’
Why I chose this excerpt:
One theme that stood out throughout this story is family and the quest to find loved ones. From Aunt Reed, to Helen Burns, to Mr. Rochester Jane spent most of this book finding familial love. At Gateshead, her extended family essentially threw her out of the home. At Lowood, the strict rules kept anyone from getting close (or in Helen and the other student's cases, they'd die or leave because it's a school) And then obviously at Thornfield, both Mr. Rochester and Jane find love within each other and try to make it work.
I chose this specific excerpt because it solidified this theme for me as a big concept in this book. In this scene, Aunt Reed is still quite rude to Jane and despite "not touch[ing]" her, Jane still offers her "full and free forgiveness". This unconditional offering only happens in families, and even though this was barely a family Jane still felt obligated to her horrible Aunt. This stood out as a character defining moment for Jane. To be able to rise above the wickedness of her Aunt and then later her cousins, was enlightening to her character and spoke to this overall theme.
The saying goes "Blood is thicker than water" and thats because family ties are always closer than friendships or acquaintances , no matter how bad it can get. This is supported by Jane in this passage and throughout the book as she is always willing to forgive those she loves.
‘Love me, then, or hate me, as you will,’ I said at last, ‘you have my full and free forgiveness: ask now for God’s, and be at peace.’
Why I chose this excerpt:
One theme that stood out throughout this story is family and the quest to find loved ones. From Aunt Reed, to Helen Burns, to Mr. Rochester Jane spent most of this book finding familial love. At Gateshead, her extended family essentially threw her out of the home. At Lowood, the strict rules kept anyone from getting close (or in Helen and the other student's cases, they'd die or leave because it's a school) And then obviously at Thornfield, both Mr. Rochester and Jane find love within each other and try to make it work.
I chose this specific excerpt because it solidified this theme for me as a big concept in this book. In this scene, Aunt Reed is still quite rude to Jane and despite "not touch[ing]" her, Jane still offers her "full and free forgiveness". This unconditional offering only happens in families, and even though this was barely a family Jane still felt obligated to her horrible Aunt. This stood out as a character defining moment for Jane. To be able to rise above the wickedness of her Aunt and then later her cousins, was enlightening to her character and spoke to this overall theme.
The saying goes "Blood is thicker than water" and thats because family ties are always closer than friendships or acquaintances , no matter how bad it can get. This is supported by Jane in this passage and throughout the book as she is always willing to forgive those she loves.
Question 3: Characters
Excerpt: (pg. 199 - 200)
First, there was Mrs. Eshton and two of her daughters. She had evidently been a handsome woman, and was well preserved still. Of her daughters, the eldest, Amy, was rather little: naive, and child-like in face and manner, and piquant in form; her white muslin dress and blue sash became her well. The second, Louisa, was taller and more elegant in figure; with a very pretty face, of that order the French term minois chiffone: both sisters were fair as lilies. Lady Lynn was a large and stout personage of about forty, very erect, very haughty-looking, richly dressed in a satin robe of changeful sheen: her dark hair shone glossily under the shade of an azure plume, and within the circlet of a band of gems.
First, there was Mrs. Eshton and two of her daughters. She had evidently been a handsome woman, and was well preserved still. Of her daughters, the eldest, Amy, was rather little: naive, and child-like in face and manner, and piquant in form; her white muslin dress and blue sash became her well. The second, Louisa, was taller and more elegant in figure; with a very pretty face, of that order the French term minois chiffone: both sisters were fair as lilies. Lady Lynn was a large and stout personage of about forty, very erect, very haughty-looking, richly dressed in a satin robe of changeful sheen: her dark hair shone glossily under the shade of an azure plume, and within the circlet of a band of gems.
Mrs. Colonel Dent was less showy; but, I thought,
more lady-like. She had a slight figure, a pale, gentle face,
and fair hair. Her black satin dress, her scarf of rich foreign
lace, and her pearl ornaments, pleased me better than the
rainbow radiance of the titled dame.
But the three most distinguished—partly, perhaps, because the tallest figures of the band—were the Dowager Lady Ingram and her daughters, Blanche and Mary. They were all three of the loftiest stature of women. The Dowager might be between forty and fifty: her shape was still fine; her hair (by candle-light at least) still black; her teeth, too, were still apparently perfect. Most people would have termed her a splendid woman of her age: and so she was, no doubt, physically speaking; but then there was an expression of almost insupportable haughtiness in her bearing and countenance. She had Roman features and a double chin, disappearing into a throat like a pillar: these features appeared to me not only inflated and darkened, but even furrowed with pride; and the chin was sustained by the same principle, in a position of almost preternatural erectness. She had, likewise, a fierce and a hard eye: it reminded me of Mrs. Reed’s; she mouthed her words in speaking; her voice was deep, its inflections very pompous, very dogmatical,—very intolerable, in short. A crimson velvet robe, and a shawl turban of some gold-wrought Indian fabric, invested her (I suppose she thought) with a truly imperial dignity.
But the three most distinguished—partly, perhaps, because the tallest figures of the band—were the Dowager Lady Ingram and her daughters, Blanche and Mary. They were all three of the loftiest stature of women. The Dowager might be between forty and fifty: her shape was still fine; her hair (by candle-light at least) still black; her teeth, too, were still apparently perfect. Most people would have termed her a splendid woman of her age: and so she was, no doubt, physically speaking; but then there was an expression of almost insupportable haughtiness in her bearing and countenance. She had Roman features and a double chin, disappearing into a throat like a pillar: these features appeared to me not only inflated and darkened, but even furrowed with pride; and the chin was sustained by the same principle, in a position of almost preternatural erectness. She had, likewise, a fierce and a hard eye: it reminded me of Mrs. Reed’s; she mouthed her words in speaking; her voice was deep, its inflections very pompous, very dogmatical,—very intolerable, in short. A crimson velvet robe, and a shawl turban of some gold-wrought Indian fabric, invested her (I suppose she thought) with a truly imperial dignity.
Blanche and Mary were of equal stature,—straight and
tall as poplars. Mary was too slim for her height, but
Blanche was moulded like a Dian. I regarded her, of
course, with special interest. First, I wished to see whether
her appearance accorded with Mrs. Fairfax’s description;
secondly, whether it at all resembled the fancy miniature I
had painted of her; and thirdly—it will out!— whether it
were such as I should fancy likely to suit Mr. Rochester’s
taste.
Why I chose this excerpt:
Obviously the main characters in this book are fully developed and given a full background. Jane Eyre has both dynamic and static qualities that you'd expect in any real person and any fully developed character. However, I am going to take this question to review the other characters in this book.
This passage exemplifies a tendency in this book in which, Bronte continuously provides extraneous information that has very little effect on the book. This passage describes the rich guests, who stay at Mr. Rochester's home for a good portion of the book. And although they keep popping up in every scene (obviously, they're there), they don't really have much effect on the story. The fact that Mrs. Dent is "less showy" has zero effect on the plot and never comes back into play. Bronte is trying to paint a full picture so the reader can clearly see the scene as intended, but all of this excessive information weighs on the reader's ability to focus on what's really important. If these details cam back into play or even if the story was focused on these characters more, then I might not be as upset, but given the circumstances it is far too much bang for the little buck.
With that said, the amount of detail Bronte puts into her characters is very useful when discussing the main characters of the book. Jane, Mr. Rochester, Mrs. Fairfax and Mrs. Ingram are all well developed and the reader has a good sense of the tensions between each relationship. In these cases I am ok with excess amounts of details because it helps the reader understand each scene, but the details provided in the passage above do not accomplish such a task.
Why I chose this excerpt:
Obviously the main characters in this book are fully developed and given a full background. Jane Eyre has both dynamic and static qualities that you'd expect in any real person and any fully developed character. However, I am going to take this question to review the other characters in this book.
This passage exemplifies a tendency in this book in which, Bronte continuously provides extraneous information that has very little effect on the book. This passage describes the rich guests, who stay at Mr. Rochester's home for a good portion of the book. And although they keep popping up in every scene (obviously, they're there), they don't really have much effect on the story. The fact that Mrs. Dent is "less showy" has zero effect on the plot and never comes back into play. Bronte is trying to paint a full picture so the reader can clearly see the scene as intended, but all of this excessive information weighs on the reader's ability to focus on what's really important. If these details cam back into play or even if the story was focused on these characters more, then I might not be as upset, but given the circumstances it is far too much bang for the little buck.
With that said, the amount of detail Bronte puts into her characters is very useful when discussing the main characters of the book. Jane, Mr. Rochester, Mrs. Fairfax and Mrs. Ingram are all well developed and the reader has a good sense of the tensions between each relationship. In these cases I am ok with excess amounts of details because it helps the reader understand each scene, but the details provided in the passage above do not accomplish such a task.
Question 2: Narrative Viewpoint
Excerpt (pg. 96-98):
‘Jane, your little feet are bare; lie down and cover yourself with my quilt.’
‘Jane, your little feet are bare; lie down and cover yourself with my quilt.’
I did so: she put her arm over me, and I nestled close to
her. After a long silence, she resumed, still whispering -
‘I am very happy, Jane; and when you hear that I am dead, you must be sure and not grieve: there is nothing to grieve about. We all must die one day, and the illness which is removing me is not painful; it is gentle and gradual: my mind is at rest. I leave no one to regret me much: I have only a father; and he is lately married, and will not miss me. By dying young, I shall escape great sufferings. I had not qualities or talents to make my way very well in the world: I should have been continually at fault.’
‘But where are you going to, Helen? Can you see? Do you know?’
‘I believe; I have faith: I am going to God.’
‘Where is God? What is God?’
‘My Maker and yours, who will never destroy what He
created. I rely implicitly on His power, and confide wholly in His goodness: I count the hours till that eventful one arrives which shall restore me to Him, reveal Him to me.’
‘Good-night, Jane.’
Her grave is in Brocklebridge churchyard: for fifteen
years after her death it was only covered by a grassy
mound; but now a grey marble tablet marks the spot,
inscribed with her name, and the word ‘Resurgam.’
Why I chose this excerpt:
Jane Eyre is told from the point of Jane Eyre herself. She is the only narrator in this story. The author has chosen to use the main character as the narrator, in order to effectively use first person pronouns.
I chose this passage because it exemplifies the power of the first person story telling that is used in Jane Eyre. In this scene Jane's best friend, and at this point only friend, ties of disease. It pulls on the emotional strings of the reader because Jane Eyre wasn't asleep, "I was asleep, and Helen was - dead." Bronte's use of first person personal pronouns instead of third person sterile ones, makes this tragic scene and the overall story more emotional. Instead of simply observing the story take place, the readers can insert themselves into the story.
This book was not written for an intense plot that will captivate the minds of readers all across the globe. It is the story of a modest girl who lives slightly above average. But the book is still read today because of the emotional draw it has on it's readers. This is just one of many scenes that the reader feels for Jane and the reader is only able to fully feel Jane's distraught throughout the entire book because of the use of the first person pronouns.
‘I am very happy, Jane; and when you hear that I am dead, you must be sure and not grieve: there is nothing to grieve about. We all must die one day, and the illness which is removing me is not painful; it is gentle and gradual: my mind is at rest. I leave no one to regret me much: I have only a father; and he is lately married, and will not miss me. By dying young, I shall escape great sufferings. I had not qualities or talents to make my way very well in the world: I should have been continually at fault.’
‘But where are you going to, Helen? Can you see? Do you know?’
‘I believe; I have faith: I am going to God.’
‘Where is God? What is God?’
‘My Maker and yours, who will never destroy what He
created. I rely implicitly on His power, and confide wholly in His goodness: I count the hours till that eventful one arrives which shall restore me to Him, reveal Him to me.’
‘You are sure, then, Helen, that there is such a place as
heaven, and that our souls can get to it when we die?’
‘I am sure there is a future state; I believe God is good; I can resign my immortal part to Him without any misgiving. God is my father; God is my friend: I love Him; I believe He loves me.’
‘And shall I see you again, Helen, when I die?’
‘You will come to the same region of happiness: be received by the same mighty, universal Parent, no doubt, dear Jane.’
Again I questioned, but this time only in thought. ‘Where is that region? Does it exist?’ And I clasped my arms closer round Helen; she seemed dearer to me than ever; I felt as if I could not let her go; I lay with my face hidden on her neck. Presently she said, in the sweetest tone -
‘How comfortable I am! That last fit of coughing has tired me a little; I feel as if I could sleep: but don’t leave me, Jane; I like to have you near me.’
‘I’ll stay with you, DEAR Helen: no one shall take me way.’
‘Are you warm, darling?’ ‘Yes.’
‘I am sure there is a future state; I believe God is good; I can resign my immortal part to Him without any misgiving. God is my father; God is my friend: I love Him; I believe He loves me.’
‘And shall I see you again, Helen, when I die?’
‘You will come to the same region of happiness: be received by the same mighty, universal Parent, no doubt, dear Jane.’
Again I questioned, but this time only in thought. ‘Where is that region? Does it exist?’ And I clasped my arms closer round Helen; she seemed dearer to me than ever; I felt as if I could not let her go; I lay with my face hidden on her neck. Presently she said, in the sweetest tone -
‘How comfortable I am! That last fit of coughing has tired me a little; I feel as if I could sleep: but don’t leave me, Jane; I like to have you near me.’
‘I’ll stay with you, DEAR Helen: no one shall take me way.’
‘Are you warm, darling?’ ‘Yes.’
‘Good-night, Helen.’
She kissed me, and I her, and we both soon slumbered. When I awoke it was day: an unusual movement
roused me; I looked up; I was in somebody’s arms; the nurse held me; she was carrying me through the passage back to the dormitory. I was not reprimanded for leaving my bed; people had something else to think about; no explanation was afforded then to my many questions; but a day or two afterwards I learned that Miss Temple, on returning to her own room at dawn, had found me laid in the little crib; my face against Helen Burns’s shoulder, my arms round her neck. I was asleep, and Helen was—dead.
She kissed me, and I her, and we both soon slumbered. When I awoke it was day: an unusual movement
roused me; I looked up; I was in somebody’s arms; the nurse held me; she was carrying me through the passage back to the dormitory. I was not reprimanded for leaving my bed; people had something else to think about; no explanation was afforded then to my many questions; but a day or two afterwards I learned that Miss Temple, on returning to her own room at dawn, had found me laid in the little crib; my face against Helen Burns’s shoulder, my arms round her neck. I was asleep, and Helen was—dead.
Why I chose this excerpt:
Jane Eyre is told from the point of Jane Eyre herself. She is the only narrator in this story. The author has chosen to use the main character as the narrator, in order to effectively use first person pronouns.
I chose this passage because it exemplifies the power of the first person story telling that is used in Jane Eyre. In this scene Jane's best friend, and at this point only friend, ties of disease. It pulls on the emotional strings of the reader because Jane Eyre wasn't asleep, "I was asleep, and Helen was - dead." Bronte's use of first person personal pronouns instead of third person sterile ones, makes this tragic scene and the overall story more emotional. Instead of simply observing the story take place, the readers can insert themselves into the story.
This book was not written for an intense plot that will captivate the minds of readers all across the globe. It is the story of a modest girl who lives slightly above average. But the book is still read today because of the emotional draw it has on it's readers. This is just one of many scenes that the reader feels for Jane and the reader is only able to fully feel Jane's distraught throughout the entire book because of the use of the first person pronouns.
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