搜狗做题网英语读后感大神给一篇
来源：学生作业帮 编辑：搜狗做题网作业帮 分类：英语作业 时间：2024/04/30 07:07:58
英语读后感大神给一篇
An Analysis of Jane Eyre
The novel is rich in poetry, symbolism and
metaphor. It does not fit easily into a definite pattern, being neither a novel
of "manners" in the tradition of Austen, or a straightforward Gothic
Romance in the style of Mrs Radcliffe. What Charlotte Bronte did was to create
a work which cleverly blends elements of the two styles, and which remains
uniquely independent of them at the same time, since it addresses issues which
were at the time rather controversial.
The novel is written in the first person,
and thus magnifies the central character - the reader enters the world of Jane
Eyre and is transported through her experiences at first hand. This at once
makes the work subjective, especially since we know that Charlottes Brontes own
life and experiences were so closely interwoven with the heroine's. As well as
this we learn only at the end of the novel that the events are being related to
us ten years after the reconciliation with Rochester - thus the narrative is
RETROSPECTIVE (looking back). CB is clever in blending the narrative so that at
times Jane seems to be speaking as an adult with adult hindsight , while at
others she she is "in the middle" of them, as a child or young woman.
The indecision which is a central issue in the book, is heightened by this
device. We never know, as readers, whether to be entirely trustful of Janes
actions and thoughts, because we are never sure wheher she is speaking
impulsively or maturely.
This intensifies the readers dilemma as to
what is "right" and "wrong" in the dramatic relationships
which are part of JE's life. Can we believe what the heroine says, or is she
deceiving herself? The novel is primarily a love story and a
"romance" where wishes come true but only after trials and suffering.
The supernatural has its place, as do dreams, portents and prophesies. The
heroine begins poor and lonely and ends up rich and loved; the orphan finds a
good family to replace the wicked one; all the basic ingredients of classic
romantic fairytale are present.
The romantic element is present in two
forms in Jane Eyre; the "family" aspect is dealt with in the Gateshead, Lowood and Moor House episodes, which involve
the exchanging of the wicked Reed family for the benevolent Rivers one; and the
Love romance is dealt with in the Thornfield and Ferndean episodes. Both
aspects are, of course linked and interwoven throughout the novel.
There is also a strong element of realism
in the novel, which, married to the romantic aspect, enhances the novel's
strength.The sense of place is very strong; we are able to experience both
exterior and interior settings with startling clarity throughout the story, in
a series of vivid de脚本ive passages. The central characters are also realistic and their
confrontations and sufferings change them in a believable way.
Even the unlikely is made plausible, with a
unique blend of high drama and perceptive low comedy (the attack on Mason, for
instance)
The more fantastic romantic aspects; the
coincidences; the secrets; the supernatural occurrences, are balanced by the
realism, and this is of course a major strength.
The Gothic influence cannot be ignored,
although CB has refined the technique considerably from the
"authentic" Gothic of the 1790's. In the original genre, the heroine
would typically be abducted and threatened with seduction, or worse!. There
would be a lover - a respectable, well-bred young man - who would endeavor to
rescue the heroine and would succeed after many trial. the seducer would be a
brigand "Know that I adore Corsairs!" and he would lock the girl up
in a remote castle.
There was little freedom for middle class women during the period of the Gothic
novel, and this was still the case in the time of CB. Marriage especially was
often a bargain, whereby fortunes were secured by using the female as a pawn. A
woman's value largely depended therefore on her sexual purity and she was
guarded and secured as a result. Men, on the contrary, were potent and free;
lovers and mistresses were common. Ironically the women who provided their
services were social outcasts as a result.
In Jane Eyre we see elements of the Gothic
romance, in that Thornfield Hall and Rochester are described very much in the
brigand/castle style BUT Jane
Eyre is not abducted by R. On the contrary she chooses to go there of her own
free will. AND she is clear in her determination to have Rochester as a husband. Neither is there a
gentleman rescuer; St John Rivers may look like a Greek God, but he is neither
kind nor benevolent; driving Jane back to Ferndean, not rescuing her from it.
The trials which the hero is supposed to
undergo in a Gothic romance are in fact undergone by the heroine in Jane Eyre.
The bandit Rochester
is only skin-deep. Underneath the brooding exterior is a sensitive soul, which
a WOMAN frees. In this way we see that CB created rather a daring departure
from conventional fiction, although there are still many aspects of the novelwhich remain true to Victorian convention.
The novel is rich in poetry, symbolism and
metaphor. It does not fit easily into a definite pattern, being neither a novel
of "manners" in the tradition of Austen, or a straightforward Gothic
Romance in the style of Mrs Radcliffe. What Charlotte Bronte did was to create
a work which cleverly blends elements of the two styles, and which remains
uniquely independent of them at the same time, since it addresses issues which
were at the time rather controversial.
The novel is written in the first person,
and thus magnifies the central character - the reader enters the world of Jane
Eyre and is transported through her experiences at first hand. This at once
makes the work subjective, especially since we know that Charlottes Brontes own
life and experiences were so closely interwoven with the heroine's. As well as
this we learn only at the end of the novel that the events are being related to
us ten years after the reconciliation with Rochester - thus the narrative is
RETROSPECTIVE (looking back). CB is clever in blending the narrative so that at
times Jane seems to be speaking as an adult with adult hindsight , while at
others she she is "in the middle" of them, as a child or young woman.
The indecision which is a central issue in the book, is heightened by this
device. We never know, as readers, whether to be entirely trustful of Janes
actions and thoughts, because we are never sure wheher she is speaking
impulsively or maturely.
This intensifies the readers dilemma as to
what is "right" and "wrong" in the dramatic relationships
which are part of JE's life. Can we believe what the heroine says, or is she
deceiving herself? The novel is primarily a love story and a
"romance" where wishes come true but only after trials and suffering.
The supernatural has its place, as do dreams, portents and prophesies. The
heroine begins poor and lonely and ends up rich and loved; the orphan finds a
good family to replace the wicked one; all the basic ingredients of classic
romantic fairytale are present.
The romantic element is present in two
forms in Jane Eyre; the "family" aspect is dealt with in the Gateshead, Lowood and Moor House episodes, which involve
the exchanging of the wicked Reed family for the benevolent Rivers one; and the
Love romance is dealt with in the Thornfield and Ferndean episodes. Both
aspects are, of course linked and interwoven throughout the novel.
There is also a strong element of realism
in the novel, which, married to the romantic aspect, enhances the novel's
strength.The sense of place is very strong; we are able to experience both
exterior and interior settings with startling clarity throughout the story, in
a series of vivid de脚本ive passages. The central characters are also realistic and their
confrontations and sufferings change them in a believable way.
Even the unlikely is made plausible, with a
unique blend of high drama and perceptive low comedy (the attack on Mason, for
instance)
The more fantastic romantic aspects; the
coincidences; the secrets; the supernatural occurrences, are balanced by the
realism, and this is of course a major strength.
The Gothic influence cannot be ignored,
although CB has refined the technique considerably from the
"authentic" Gothic of the 1790's. In the original genre, the heroine
would typically be abducted and threatened with seduction, or worse!. There
would be a lover - a respectable, well-bred young man - who would endeavor to
rescue the heroine and would succeed after many trial. the seducer would be a
brigand "Know that I adore Corsairs!" and he would lock the girl up
in a remote castle.
There was little freedom for middle class women during the period of the Gothic
novel, and this was still the case in the time of CB. Marriage especially was
often a bargain, whereby fortunes were secured by using the female as a pawn. A
woman's value largely depended therefore on her sexual purity and she was
guarded and secured as a result. Men, on the contrary, were potent and free;
lovers and mistresses were common. Ironically the women who provided their
services were social outcasts as a result.
In Jane Eyre we see elements of the Gothic
romance, in that Thornfield Hall and Rochester are described very much in the
brigand/castle style BUT Jane
Eyre is not abducted by R. On the contrary she chooses to go there of her own
free will. AND she is clear in her determination to have Rochester as a husband. Neither is there a
gentleman rescuer; St John Rivers may look like a Greek God, but he is neither
kind nor benevolent; driving Jane back to Ferndean, not rescuing her from it.
The trials which the hero is supposed to
undergo in a Gothic romance are in fact undergone by the heroine in Jane Eyre.
The bandit Rochester
is only skin-deep. Underneath the brooding exterior is a sensitive soul, which
a WOMAN frees. In this way we see that CB created rather a daring departure
from conventional fiction, although there are still many aspects of the novelwhich remain true to Victorian convention.