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简爱读后感 Jane Eyre The Impact of the Tone
The tone of Jane Eyre is direct, perhaps even blunt.There is no priy little-girl sensibility, but a startlingly independent, even skeptical perspective.At the age of 10, the orphan Jane already sees through the hypocrisy of her self-righteous Christian elders.She tells her bullying Aunt Reed, People think you a good woman, but you are bad;hard-hearted.You are deceitful!and I am glad you are no relative of mine;I will never call you aunt again so long as I live.I will never come to see you when I am grown up;and if any one asks me how I liked you, and how you treated me, I will say that the very thought of you makes me sick.(In fact, when her aunt is elderly and dying, Jane does return to visit her, and forgives her.But that's far in the future.)With the logic of a mature philosopher, in fact rather like Friedrich Nietzsche to come, Jane protests the basic admonitions of Christianity as a schoolgirl I must resist those who...persist in disliking me;I must resist those who punish me unjustly.It is as natural as that I should love those who show me affection, or submit to punishment when I feel that it is deserved.And this bold declaration, which would have struck readers of 1847(in fact, of 1947)as radical and infeminine
Restlene was in my nature;it agitated me to pain sometimes...Women are supposed to be very calm generally but women feel just as men feel;they need exercise for their faculties, and a field for their efforts as much as their brothers do;they suffer from too rigid a constraint, too absolute a stagnation, precisely as men would suffer.Instead, the novel begins with the seemingly disappointed statement There was no poibility of taking a walk that [rainy] day, and counters almost immediately with, I was glad of it;I never liked long walks.When excluded from Christmas revelries in the Reed household, the child Jane says, To speak the truth, I had not the least wish to go into company.Jane's defiance, which doesn't exclude childlike fears, strikes us as forthright in the way of the adolescent temperaments of other famous literary voices--Jo March of Louisa May Alcott's Little Women, Huck Finn, Holden Caulfield and their now-countle younger siblings.Here is a voice, we believe, we can trust;and our trust is not misplaced.Another surprise of Jane Eyre is the seemingly real--that is, non-romantic--nature of the lovers-to-be.Jane Eyre is many times described as small, plain, undistinguished;her mysterious, Byronic-tempered employer Rochester is pointedly not handsome or heroic looking;their conversations are, from the start, marked by an unusual directne, surely rare in 19th-century women's fiction, with the underlying premise, which is never questioned, that the pennile Jane and the wealthy Rochester are equals in intelligence, character and worth.Their attraction to, and developing love for, each other is immediate, yet grows as naturally as it might in real life, characterized by such remarks as Rochester's to Jane, You are not pretty any more than I am handsome, and at the novel's end, after the lovers have been parted for a year, and suffered loes, an exchange that must have made readers gasp, and perhaps shed a tear
Am I hideous, Jane
Yes, sir you always were, you know.Today's readers will find in Jane Eyre mysteries and surprises that Brontë's contemporaries would have taken for granted the strange, harsh treatment of mental illne(as a consequence apparently of syphilis);the double standard of sexual behavior(in which men like Rochester were allowed a kind of gentlemanly promiscuity while unmarried women like Jane had to conform to a narrow code of chastity);the unyielding conviction with which Jane Eyre, though she loves Rochester, flees him, even to the point of wandering homele, and nearly starving, in the novel's most disturbing, existential scenes of Chapter 28 when Jane is reduced to begging crusts of bread and ravenously devouring swill scorned by hungry hogs.(What a boldly non-Romantic portrayal of female, human want, to present to genteel English readers!)
Of course, Jane Eyre has a happy ending.Yet it is made to feel like a natural, even inevitable ending, though there are numerous melodramatic twists of the plot and coincidences beforehand.It is typical of Jane that she declares, Reader, I married him.(Not He married me.)It is typical of Jane that, though married at last to the man she loves, and now a mother, she looks back upon her still-young life from the perspective of mature wisdom.简·爱是夏·勃朗特在中刻画的一位不畏男权势力压迫,追求人格平等和独立的女性;苔丝是哈代在所塑造的一位追求妇女平等、自由的女性形象.这两部作品均表现了男权传统势力对女主人公的压抑、摧残,以及女主人公的抵制、抗争.可以说,妇女地位包含社会及家庭两个层面,社会地位(经济、政治、人际关系等等)向来为论者所关注,而对于家庭地位(执家权利、家务分工、感情状态,特别是性角色)则有所忽视.然而,这些内容恰恰准确地表现了妇女追求心灵解放为核心的自身的平等、自由.简*爱与苔丝分别是与的主人公.虽然二者都是文学史上的叛逆女性形象,但却有不同:她们各自的社会地位、气质、个性不同;她们的反抗方式、力度不同;她们的结局不同;她们的生存、个性发展的背景不同;作者思想对她们的渗透不同.论文试图从这些方面探讨这两个艺术典型的不同魅力.
