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JaneEyrewasabornresister,whoseparentswentoffwhenshewasveryyoung,andheraunt，theonlyrel...
Jane Eyre was a born resister, whose parents went off when she was very young, and her aunt，the only relative she had，treated her as badly as a ragtag. Since Jane’s education in Lowood Orphanage began, she did not get what she had been expecting——simply being regarded as a common person, just the same as any other girl around. The suffers from being humiliated and devastated teach Jane to be persevering and prize dignity over anything else. As a reward of revolting the ruthless oppression, Jane got a chance to be a tutor in Thornfield Garden. There she made the acquaintance of lovely Adele and that garden’s owner, Rochester, a man with warm heart despite a cold face outside. Jane expected to change the life from then on, but fate had decided otherwise: After Jane and Rochester fell in love with each other and got down to get marry, she unfortunately came to know in fact Rochester had got a legal wife, who seemed to be the shadow following Rochester and led to his moodiness all the time ----Rochester was also a despairing person in need of salvation. Jane did want to give him a hand, however, she made up her mind to leave, because she didn’t want to betray her own principles, because she was Jane Eyre. The film has finally got a symbolist end: Jane inherited a large number of legacies and finally returned. After finding Rochester’s misfortune brought by his original mad wife, Jane chose to stay with him forever.
I don’t know what others feel, but frankly speaking, I would rather regard the section that Jane began her teaching job in Thornfield as the film’s end----especially when I heard Jane’s words “Never in my life have I been awaken so happily.” For one thing, this ideal and brand-new beginning of life was what Jane had been imagining for long as a suffering person; for another, this should be what the audiences with my views hoped her to get. But the professional judgment of producing films reminded me to wait for a totally different result: There must be something wrong coming with the excellence----perhaps not only should another section be added to enrich the story, but also we may see from the next transition of Jane’s life that “Life is like a box of chocolates, you never know what you would get.” (By Forrest Gump’s mother, in the film “Forrest Gump”)
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I don’t know what others feel, but frankly speaking, I would rather regard the section that Jane began her teaching job in Thornfield as the film’s end----especially when I heard Jane’s words “Never in my life have I been awaken so happily.” For one thing, this ideal and brand-new beginning of life was what Jane had been imagining for long as a suffering person; for another, this should be what the audiences with my views hoped her to get. But the professional judgment of producing films reminded me to wait for a totally different result: There must be something wrong coming with the excellence----perhaps not only should another section be added to enrich the story, but also we may see from the next transition of Jane’s life that “Life is like a box of chocolates, you never know what you would get.” (By Forrest Gump’s mother, in the film “Forrest Gump”)
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简爱是一个出生的反抗者，他们的父母去了，她很年轻，和她的姨妈，只有相对的她，对她的严重作为乌合之众。由于简氏教育罗沃德孤儿院开始，她没有得到她所预期的-只是被视为一个共同的人，只要同其他任何女孩了。在受到侮辱和破坏教授简要坚持和奖尊严超过一切。作为回报的令人作呕的残酷压迫，简有机会成为一个导师在桑菲尔德花园。因此，她认识了可爱的阿黛勒和花园的业主，罗切斯特，一名男子报以热烈的心，尽管冷战面对外面。简预期改变生活从此，但命运已经决定，否则：在简和罗切斯特爱上了对方，并获得了下来结婚，她遗憾的是来了解事实罗切斯特了法律的妻子，似乎谁以下是罗切斯特的阴影，并导致他的情绪低落的时候----罗切斯特也是一个绝望的人需要救助。简并希望让他的手，然而，她到了她的离开，因为她不想背叛自己的原则，因为她是简爱。电影终于结束了象征：简继承了大量的遗产，并最终返回。但是后来她发现罗切斯特的不幸使他原来的妻子疯了，简选择留他永远。
我不知道别人怎么认为，但坦率地讲，我宁愿把节简开始了她的教学工作在桑菲尔德作为影片的结束----尤其是当我听到简的话： “不要在我的生命我被唤醒，使快乐。 “原因之一是，这一理想和崭新的生活开始就是简一直想象的只要一个痛苦的人;另一个，这应该是我的意见，观众希望她得到。但是，专业判断的生产薄膜提醒我要等待一个完全不同的结果是：一定有什么地方出未来的卓越----也许不仅应增加另一部分，以丰富的故事，而且我们可能会看到来自未来过渡简的生活， “人生就像一盒巧克力，你永远不知道你会得到什么。 ” （据阿甘正传的母亲，在电影“阿甘正传” ）
我不知道别人怎么认为，但坦率地讲，我宁愿把节简开始了她的教学工作在桑菲尔德作为影片的结束----尤其是当我听到简的话： “不要在我的生命我被唤醒，使快乐。 “原因之一是，这一理想和崭新的生活开始就是简一直想象的只要一个痛苦的人;另一个，这应该是我的意见，观众希望她得到。但是，专业判断的生产薄膜提醒我要等待一个完全不同的结果是：一定有什么地方出未来的卓越----也许不仅应增加另一部分，以丰富的故事，而且我们可能会看到来自未来过渡简的生活， “人生就像一盒巧克力，你永远不知道你会得到什么。 ” （据阿甘正传的母亲，在电影“阿甘正传” ）
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What’s more, this film didn’t end when Jane left Thornfield. For Jane Eyre herself, there should always be somewhere to realize her great ideal of being independent considering her fortitude, but for Rochester, how he can get salvation? The film gives the answer tentatively: Jane eventually got back to Rochester. In fact, when Jane met Rochester for the first time, she scared his horse and made his heel strained, to a certain extent, which meant Rochester would get retrieval because of Jane. We can consider Rochester’s experiences as that of religion meaning. The fire by his frantic wife was the punishment for the cynicism early in his life. After it, Rochester got the mercy of the God and the love of the woman whom he loved. Here we can say: human nature and divinity get united perfectly in order to let such a story accord with the requirements of both two sides. The value of this film may be due to its efforts to explore a new way for the development of humanism under the faith of religion.
Life is ceaselessly changing, but our living principles remain. Firmly persisting for the rights of being independent gives us enough confidence and courage, which is like the beacon over the capriccioso sea of life. In the world of the film, we have found the stories of ourselves, which makes us so concerned about the fate of the dramatis personae.
In this era of rapid social and technological change leading to increasing life complexity and psychological displacement, both physical and mental effects on us call for a balance. We are likely to find ourselves bogged down in the Sargasso Sea of information overload and living unconsciousness. It’s our spirit that makes the life meaningful.
Heart is the engine of body, brain is the resource of thought, and great films are the mirrors of life. Indubitably, “Jane Eyre” is one of them. Bertha Mason is the insane wife of Rochester. In precise contrast to the angelic Helen, Bertha is big, as big as Rochester, corpulent, florid, and violent. Much of Bertha’s dehumanization, Rochester’s account makes clear, is the result of her confinement, not its cause. After ten years of imprisonment, Bertha has become a caged beast (Showalter 73). As Bronfen states, “where Helen ‘fed’ off her dead ancestors, Bertha feeds off the living, bites and draws blood from her brother, repeatedly threatens the life of her husband, and embodies a return of what they would like to repress” (200). Bertha can be seen as Jane’s darkest double, as her ferocious secret self, who appears whenever an experience of anger or fear arises on Jane’s part that must again be repressed (“Jane Eyre” 167). Acting for and like Jane, she enacts the violence Jane would like to but can’t express, especially in respect to marriage. She also articulates Jane’s fears and desires about her own mortality (Bronfen 200).
There are multiple themes in Jane Eyre. One of the main themes is the need for love contrasting with the need for independence. As a Bildungsroman, Jane Eyre is the story of Jane’s striving for independence, struggling with passion, and finally growing into maturity. As the story starts, Gateshead is the place in which the passions of childhood are given free rein (Lamonica 70). In Lowood, although Jane is no longer dependent on the Reed family, her passion is restricted by the severe rules. In Thronfield, however, an excess of passion between Jane and Rochester ultimately causes her to run from Thornfield Hall with no plans for the future, ending up starving and delirious on the doorsteps of the Rivers family at Marsh End . Marsh End, like Lowood, is a place where restraint of passion is a way of life. While she cares deeply for St. John, who asks her to marry him, Jane knows that she would never be able to love him with the kind of passion she feels for Rochester. As Teach man states, “Jane is a woman who, having once known true passion, cannot settle for anything less in marriage”. In Fern dean, the final location of the novel, passions have been moderated to some degree by both time and experience. Burn have rendered Rochester dependent on others for his daily care. Jane thus finds him changed from “a vital and sometimes threateningly passionate man into a man tamed by both emotional and physical trauma” . Jane, on the other hand, had found loving cousins. She has also inherited her uncle's fortune, making her an independent woman with no need of the financial support. “As a result of this increased level of independence, she is able to regulate her passions, indulging them when she feels it appropriate and choosing not to act on them at other times. This final section of the novel reveals the integration of essential parts of Jane's personality and education into a strong adult woman, who also at this time becomes a mother and a true partner to her husband”
Another main theme of Jane Eyre is Jane’s search for religion. Throughout the novel, Bronte presents contrasts between “characters that believe in and practice what she considers a true Christianity and those who pervert religion to further their own ends” (“Jane Eyre” 170). Mr. Brocklehurst, for example, is a hypocritical Christian. He professes charity but uses religion as a justification for punishing the orphans. Helen Burns, on the other hand, is a complete contrast to Brocklehurst: she endures her punishment patently, forgives the cruelty of her teachers, and fully acknowledges the legitimacy of their chastisement. St. John Rivers is a “more conventionally religious figure” (“Jane Eyre” 170). In spite of his determination to do good deeds, he is cold, forbidding; moreover, he courts martyrdom. He does not regard Jane as a full, independent person but an accessory that would help his proposed missionary work. In the novel, Jane witnesses and resents the hypocrisy of Mr. Brocklehurst, and she cannot quite profess Helen’s absolute, selfless faith. Jane “does not follow a particular doctrine, but she is sincerely religious in a non doctrinaire way” (“Jane Eyre” 170).
2.Another theme of Jane Eyre is the search for home and family, which is also closely associated with search for identity. Throughout the novel, Jane searches for kinship, a sense of place in a relationship characterized by “fellow-feeling,” a term Jane uses repeatedly. According to Lamonica, “the novel plots her course from displacement at Gateshead Hall,
where she is ‘like nobody there’, to ‘full fellow-feeling’ with the Rivers family at Moor House, and finally to symbiosis with Rochester at Ferndean, where she is ‘ever more absolutely bone of his bone, and flesh of his flesh.’” (67-68).
In the opening scene of the novel, the Reed children cluster around their mother in a classic Victorian family tableau, the mother “reclined on a sofa by the fire-side” with her “darlings about her,” looking “perfectly happy” (Bronte 3). Jane, an orphan less than a servant, is excluded. Jane’s original self-conception at Gateshead is thus determined expressly by her difference and distance from the family unit. She is, to both herself and her relations, an anomaly (Lamonica 74).
Shunted off to Lowood Institution, Jane finds a home of sorts, although her place here is “ambiguous and temporary” (“Jane Eyre” 171). Jane’s time at Lowood gives her the “opportunity to position and define herself within a new, all-female community”(Lamonica 76). Her time under the influence of Helen and Miss temple serves to placate the deep impression of her childhood sufferings, but it does not alter the character of her quest. She persists in asserting, “I was no Helen Burns” (Bronte 75).
Jane’s relationship with Rochester is governed by the self-images she acquired at Gateshead and Lowood. The various, sometimes conflicting, aspects of her developing selfhood – “her passion and her self-control, her desire to live ‘as an independent being ought to do’ and to think well of herself, as well as her need to be accepted and thought well of by others” – determines her longing for kinship (Lamonica 78). However, for Jane, this kinship must allow for a meaningful personal identity within the relationship, which explains why Jane develops an attraction to Rochester – she states “he is not their kind. I believe he is of mine” (Bronte 219) - and why Jane is reluctant to become Mrs. Rochester, a symbol of a self-sacrificing union. Jane’s finial union symbolizes the ideal harmony
Life is ceaselessly changing, but our living principles remain. Firmly persisting for the rights of being independent gives us enough confidence and courage, which is like the beacon over the capriccioso sea of life. In the world of the film, we have found the stories of ourselves, which makes us so concerned about the fate of the dramatis personae.
In this era of rapid social and technological change leading to increasing life complexity and psychological displacement, both physical and mental effects on us call for a balance. We are likely to find ourselves bogged down in the Sargasso Sea of information overload and living unconsciousness. It’s our spirit that makes the life meaningful.
Heart is the engine of body, brain is the resource of thought, and great films are the mirrors of life. Indubitably, “Jane Eyre” is one of them. Bertha Mason is the insane wife of Rochester. In precise contrast to the angelic Helen, Bertha is big, as big as Rochester, corpulent, florid, and violent. Much of Bertha’s dehumanization, Rochester’s account makes clear, is the result of her confinement, not its cause. After ten years of imprisonment, Bertha has become a caged beast (Showalter 73). As Bronfen states, “where Helen ‘fed’ off her dead ancestors, Bertha feeds off the living, bites and draws blood from her brother, repeatedly threatens the life of her husband, and embodies a return of what they would like to repress” (200). Bertha can be seen as Jane’s darkest double, as her ferocious secret self, who appears whenever an experience of anger or fear arises on Jane’s part that must again be repressed (“Jane Eyre” 167). Acting for and like Jane, she enacts the violence Jane would like to but can’t express, especially in respect to marriage. She also articulates Jane’s fears and desires about her own mortality (Bronfen 200).
There are multiple themes in Jane Eyre. One of the main themes is the need for love contrasting with the need for independence. As a Bildungsroman, Jane Eyre is the story of Jane’s striving for independence, struggling with passion, and finally growing into maturity. As the story starts, Gateshead is the place in which the passions of childhood are given free rein (Lamonica 70). In Lowood, although Jane is no longer dependent on the Reed family, her passion is restricted by the severe rules. In Thronfield, however, an excess of passion between Jane and Rochester ultimately causes her to run from Thornfield Hall with no plans for the future, ending up starving and delirious on the doorsteps of the Rivers family at Marsh End . Marsh End, like Lowood, is a place where restraint of passion is a way of life. While she cares deeply for St. John, who asks her to marry him, Jane knows that she would never be able to love him with the kind of passion she feels for Rochester. As Teach man states, “Jane is a woman who, having once known true passion, cannot settle for anything less in marriage”. In Fern dean, the final location of the novel, passions have been moderated to some degree by both time and experience. Burn have rendered Rochester dependent on others for his daily care. Jane thus finds him changed from “a vital and sometimes threateningly passionate man into a man tamed by both emotional and physical trauma” . Jane, on the other hand, had found loving cousins. She has also inherited her uncle's fortune, making her an independent woman with no need of the financial support. “As a result of this increased level of independence, she is able to regulate her passions, indulging them when she feels it appropriate and choosing not to act on them at other times. This final section of the novel reveals the integration of essential parts of Jane's personality and education into a strong adult woman, who also at this time becomes a mother and a true partner to her husband”
Another main theme of Jane Eyre is Jane’s search for religion. Throughout the novel, Bronte presents contrasts between “characters that believe in and practice what she considers a true Christianity and those who pervert religion to further their own ends” (“Jane Eyre” 170). Mr. Brocklehurst, for example, is a hypocritical Christian. He professes charity but uses religion as a justification for punishing the orphans. Helen Burns, on the other hand, is a complete contrast to Brocklehurst: she endures her punishment patently, forgives the cruelty of her teachers, and fully acknowledges the legitimacy of their chastisement. St. John Rivers is a “more conventionally religious figure” (“Jane Eyre” 170). In spite of his determination to do good deeds, he is cold, forbidding; moreover, he courts martyrdom. He does not regard Jane as a full, independent person but an accessory that would help his proposed missionary work. In the novel, Jane witnesses and resents the hypocrisy of Mr. Brocklehurst, and she cannot quite profess Helen’s absolute, selfless faith. Jane “does not follow a particular doctrine, but she is sincerely religious in a non doctrinaire way” (“Jane Eyre” 170).
2.Another theme of Jane Eyre is the search for home and family, which is also closely associated with search for identity. Throughout the novel, Jane searches for kinship, a sense of place in a relationship characterized by “fellow-feeling,” a term Jane uses repeatedly. According to Lamonica, “the novel plots her course from displacement at Gateshead Hall,
where she is ‘like nobody there’, to ‘full fellow-feeling’ with the Rivers family at Moor House, and finally to symbiosis with Rochester at Ferndean, where she is ‘ever more absolutely bone of his bone, and flesh of his flesh.’” (67-68).
In the opening scene of the novel, the Reed children cluster around their mother in a classic Victorian family tableau, the mother “reclined on a sofa by the fire-side” with her “darlings about her,” looking “perfectly happy” (Bronte 3). Jane, an orphan less than a servant, is excluded. Jane’s original self-conception at Gateshead is thus determined expressly by her difference and distance from the family unit. She is, to both herself and her relations, an anomaly (Lamonica 74).
Shunted off to Lowood Institution, Jane finds a home of sorts, although her place here is “ambiguous and temporary” (“Jane Eyre” 171). Jane’s time at Lowood gives her the “opportunity to position and define herself within a new, all-female community”(Lamonica 76). Her time under the influence of Helen and Miss temple serves to placate the deep impression of her childhood sufferings, but it does not alter the character of her quest. She persists in asserting, “I was no Helen Burns” (Bronte 75).
Jane’s relationship with Rochester is governed by the self-images she acquired at Gateshead and Lowood. The various, sometimes conflicting, aspects of her developing selfhood – “her passion and her self-control, her desire to live ‘as an independent being ought to do’ and to think well of herself, as well as her need to be accepted and thought well of by others” – determines her longing for kinship (Lamonica 78). However, for Jane, this kinship must allow for a meaningful personal identity within the relationship, which explains why Jane develops an attraction to Rochester – she states “he is not their kind. I believe he is of mine” (Bronte 219) - and why Jane is reluctant to become Mrs. Rochester, a symbol of a self-sacrificing union. Jane’s finial union symbolizes the ideal harmony
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憾的是来了解事实罗切斯特了法律的妻子，似乎谁以下是罗切斯特的阴影，并导致他的情绪低落的时候----罗切斯特也是一个绝望的人需要救助。简并希望让他的手，然而，她到了她的离开，因为她不想背叛自己的原则，因为她是简爱。电影终于结束了象征：简继承了大量的遗产，并最终返回。但是后来她发现罗切斯特的不幸使他原来的妻子疯了，简选择留他永远。
我不知道别人怎么认为，但坦率地讲，我宁愿把节简开始了她的教学工作在桑菲尔德作为影片的结束----尤其是当我听到简的话： “不要在我的生命我被唤醒，使快乐。 “原因之一是，这一理想和崭新的生活开始就是简一直想象的只要一个痛苦的人;另一个，这应该是我的意见，观众希望她得到。但是，专业判断的生产薄膜提醒我要等待一个完全不同的结果是：一定有什么地方出未来的卓越----也许不仅应增加另一部分，以丰富的故事，而且我们可能会看到来自未来过渡简的生活， “人生就像一盒巧克力，你永远不知道你会得到什么。 ” （据阿甘正传的母亲，在电影“阿甘正传” ）
我不知道别人怎么认为，但坦率地讲，我宁愿把节简开始了她的教学工作在桑菲尔德作为影片的结束----尤其是当我听到简的话： “不要在我的生命我被唤醒，使快乐。 “原因之一是，这一理想和崭新的生活开始就是简一直想象的只要一个痛苦的人;另一个，这应该是我的意见，观众希望她得到。但是，专业判断的生产薄膜提醒我要等待一个完全不同的结果是：一定有什么地方出未来的卓越----也许不仅应增加另一部分，以丰富的故事，而且我们可能会看到来自未来过渡简的生活， “人生就像一盒巧克力，你永远不知道你会得到什么。 ” （据阿甘正传的母亲，在电影“阿甘正传” ）
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