Documentos de Académico
Documentos de Profesional
Documentos de Cultura
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
http://about.jstor.org/terms
Journal of Narrative Theory is collaborating with JSTOR to digitize, preserve and extend access to The
Journal of Narrative Technique
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
She, of course, cannot know that this oneiric barrier takes the corporeal form of a
Mrs. Rochester currently residing at Thornfield. Were Mr. Rochester to be believed,
his existing marriage to Bertha is nothing more than "an obstacle of custom-a mere
too frail to survive verbal expression. The former inclination produces a kind of
linguistic skepticism whose nature varies from the conviction that language is
inherently unequal to the demands placed upon it (ontological fear), to the belief that
words are readily misused by mendacious speakers and that such duplicity is
virtually undetectable (pragmatic fear), to the concern that telling one's story
inevitably invokes the irreconcilable claims of truth and plausibility (narrative fear).
The ontological fear of language raises the possibility that experience and articulation are incompatible by nature. Words may fail speakers at any time, not only at
moments of emotional intensity such as those depicted in Jane's nightmare. A less
radical notion is that love and language are at odds in practice rather than in
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
If such are the trepidations deriving from the belief that lan
quite different fears affect those who hold that words poss
to reveal rather than to distort or simply to conceal the truth.
is the conviction that words can turn actions into lies and men
syllable" (60) from Jane, and Rochester warns her of the dir
careless word" (245). She, of course, discovers firsthand the
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
experiencing the first kind of language fear. Or, when this diversionary tack fai
they are a reaction. Neither "natural" nor "supernatural" discourse reliably rev
to ask Jane to "take my word for it" (167). In the same way, his "supernatural" ap
to her spirit gives way to an attempted carnal embrace (345-46), therein mer
reenacting previous courtship patterns. Language and counter-language prov
liable to the same abuses. Furthermore, Brontd's resorting to a logos ex machin
bring her lovers together at the end of the novel is unlikely to restore reade
confidence in linguistic efficacy. There appears to be no escape from the Babe
competing but equally flawed, equally feared, discursive modes.
Logically, the two forms of logophobia would seem to be mutually exclusi
The beliefs that language does not work and works only too well, that love is b
Dialogically, however, such is not the case. Logophobic lovers are lost in a lingui
stands outside the confines of the labyrinth orof the narrative itself. This unreliabili
therefore, expands to encompass the narrator and even the author, giving read
themselves ample reason for logophobia.2
The logic of the first type of language fear leaves speakers in an irresolvab
then by necessity and not simply by choice is the subject of talk limited to t
comparatively superficial experiences amenable to linguistic formulation an
convention. It is not simply that words are insufficiently vivid or precise to
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
always the lapse occurs at some crisis, when a facile word or plaus
when she either loses her voice or cannot trust herself to spe
love, she could not be in love. Jane Eyre thus poses the romanti
hopes to trick Jane into wedlock, just as Celine trailed him out o
its literal sense also means the opposite, that is, to follow or tr
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
to lead, and Brontd fully exploits this ambiguity. Blanche, for instance, thinks t
legal proscriptions against his doing so, and, in the second, by exposing
mercantilist motivation for marriage.
governess, Adele selects a song and a poem from an apparently extensive, sligh
risque repertoire. The former concerns "a forsaken lady" (184) and the disguis
which she plans to gain revenge on her lover. The latter, a fable by La Fontai
what counts in this society, but on this occasion style identifies the speaker as
mother more than the daughter. In effect, this scene introduces Celine, spea
ventriloquially through her daughter. Jane meets, then, not only a little girl-
whose presence explains Rochester's distaste for his ward's "prattle" (161); t
"wronged" woman whose voice blends with Bertha's laugh in aFuries' chorus f
which he unsuccessfully tries to flee; and the fallen woman whom Jane very nea
becomes, despite conscious intentions to the contrary (298).
Unlike Maisie Farange, whose situation resembles Adele's in several impor
ways, Adele can only quote; she cannot speak.4 In impersonating Celine, her o
voice is largely eclipsed. Yet her unselfconscious style, "the lisp of childhoo
(134), is both audible and essential to understanding the performance. In the cont
between the vocative strains of mother and daughter, Jane detects both past
present performances, and she intuits a good deal about Celine: "The su
seemed strangely chosen for an infant singer; but I suppose the point of th
exhibition lay in hearing the notes of love and jealousy warbled with the lisp
childhood" (134). Because the song and recitation are double-voiced, Jane is
to infer the mother's "bad taste" (134) in trailing her daughter for her frien
amusement.
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
(the text) to the lives of the players (the context). This applicat
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
freedom of play, they conflate text and context with impunity. None interpre
scene correctly because all rely on the shared, though unannounced, rules
amorous pursuit and discourse that Rochester exploits.
Even Jane, who knows little about such rules or charades (211), misconstru
the more accurate guess of the charade's meaning, its significance is not conc
the dynamics of introduction and seduction, he is both Celine and Adele, that is
jaded director indulging his poor taste and earnest actor confidently courti
audience's favor. That the two voices go undetected is testimony to his ventrilo
skill (although the ultimate ventriloquist is perhaps St. John Rivers, who in co
claims to speak not only for Jane's mute heart [427] but also for God [431]).
married when he woos. When Jane ultimately discovers the two voices th
bigamist of necessity possesses, she very nearly acquiesces to her own traili
An additional aspect of charades returns us to the question of visual langu
an alternative to the pervasive use and distorting echoes of love talk. Cha
emphasize the pictorial over the verbal. Although words are the object of the g
its procedures are pantomimic. Its interest and challenge lie in the skills of
appeal to the visual are manifest in an endemic tendency to read faces rathe
to trust words. Eyes, Jane tells us, are faithful interpreters of the soul (
Language too often provides either a veneer of social ease hiding poten
disruptive feelings or a facade of romantic grace concealing devious inten
troubled relationship with Mason. While Rochester utters only words of succ
face expresses what his "plausible pretexts" attempt to conceal. But Jane
insufficient attention to the drastic difference between Rochester's bi-lin
messages. She tends to trust looks rather than words; therefore, she monologiz
feelings for Rochester, she concludes that she must love him, becaus
consults his visage, and only after reading his look in the moonlight does she a
the offer of his hand.
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
by the by, what you express with that organ [the eye]; I am qui
forehead, about the eyes, and in the eyes themselves, in the lines
27). That his own face is blackened and shaded by a hat provi
vous donc? lui dit un de ces rats; parlez! (134).? The peremptor
is appropriate to Rochester's discursive method (164, 290, 45
impatient, even aggressive, tone of many of the novel's "parle
line seems strangely chosen if it is intended to illustrate Adele's
and a fiancee.
The discordant notes echoing throughout Adele's performan
to envelop the narrator and her readers. The choice of this
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
a musician as going "to the Holy Virgin" (133, 176) is presumedly no different fr
Celine's enjoyment at "hearing notes of love and jealousy warbled with the lis
childhood." In effect, the scene manifests the kind of dialogical exploitation th
The burlesque depictions of Georgiana and Eliza Reed, as well as of the Dowag
and Miss Ingram, are further examples. Readers are apt to enjoy the lampoon of R
Brocklehurst, especially when the sight of curly hair sends him into a fit o
fundamentalist zeal: "Why, in defiance of every precept and principle of this hou
establishment-as to wear her hair one mass of curls?" (96). That his own daugh
boast "a profusion of light tresses, elaborately curled" (97) heightens the satire
the scene and the contempt for Brocklehurst. But the narrator, who ridicules
redundancy of hair falling in curls to her waist" (132, 199); Blanche, whose hai
"involuntary smile that curled" her lips [96]), must we then not include the narr
in our critical amusement?'
source), and context (the situation). Readers, however, are denied acces
utterance and may at best guess about the narrator's texts. Writing occludes
ideal that can never be applied to novels themselves. While readers may be insulat
to some extent from the trailing by characters, they are all the more susceptible
Unlike conventional autobiographies, Jane Eyre does not begin with an accou
of the protagonist's birth or earliest memory. Rather, the novel opens with
reserved heroine's discovery of "quite a new way of talking" (71). Jane's ini
words, like Adele's recitation of LesLigues des Rats, sound the note that somet
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
is wrong: "What does Bessie say I have done?" (39). When John
for "impudence in answering mamma" (42), Jane likens him t
emperors, a comparison drawn "in silence, which I never thou
declared aloud" (43). But when she does speak out, the "infantin
is imprisoned in the Red Room. Her voice will not be muted, h
declaration" (59), she renews and expands her attack upon the R
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
much exaggeration, that " by the by, it was you who made me the offer" (291)-a
person asks the questions. In this instance-to reverse the earlier formulationmight be said that if Jane does not speak love, she cannot be in love.
ship. The "blunt sentence[s]" (68) that shocked Mrs. Reed are their ordinary form
of intercourse, and their colloquies are a counterpoint of his "impetuous republican
(308) and her "ready and round" (341) answers. Rochester refuses to be constrain
He asks Jane to "dispense with a great many conventional forms and phrases" (16
because they stifle spontaneity and frustrate naturalness (170). Her disregard of
discursive amenities ultimately rivals his: "The sarcasm that had repelled, the
harshness that had startled me once, were only like keen condiments in a choice dish
their presence was pungent, but their absence would be felt as comparatively
insipid" (217). This harshness is more than a matter of style. The medium becom
the message when Jane credits the sincerity of his marriage proposal precisel
because of its "incivility" (283). Non-conventional and even rude language becomes the sign of truthfulness and the means of intimacy.9
This method of courtship may insulate the lovers from the searing expressions o
love for which Jane Eyre is famous, but it also enmeshes them in the rhetoric
jousting that Rochester and Blanche used to disguise their cool dislike. Both t
pretended and the intended courtships yield lively dialogues pitting the interlocu
tors as verbal antagonists. Wooing begins to resemble a military rather than
romantic engagement, one whose objective is maintaining distance rather tha
establishing common ground. Jane, for instance, deliberately employs a "needle
repartee" (301) to frustrate any show of love: "I whetted my tongue" (301). It is
wonder, then, that Rochester complains that "under the pretence ... of stroking an
soothing me into placidity, you stick a sly penknife under my ear!" (162, also se
306). The effect of this courtship of sharp tongues and pointed conversations is
make distance and detachment the indices of love. Their amorous exchanges a
hardly the "kindly conversation" (333) that Rochester claims to have missed wi
Bertha and that we never see with Blanche. They constitute, rather, another instan
of manipulation and antagonism, albeit a highly eroticized one.
which she typically figures as a fairy and he as an Oriental emir. In the most extend
of these metaphors, Rochester spins a tale of life on the moon, with pink clouds fo
clothing and manna for sustenance. Jane tells Adele "not to mind his badinag
(296), but she herself would do well to borrow from her pupil's "fund of genuin
French skepticism" (296). For his wish to leave the "common world" (296) behin
also expresses his desire to ignore common customs and laws. He is, in more way
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
carries her into acting on it. But she resists being swayed by R
that running off to his "whitewashed villa on the shores of the M
running fire" (344). The figure of speech with which Jane describ
black and blasted after the flames are dead, would have represented
Jane Eyre, who had been an ardent expectant woman ... was a co
storm had whirled over June; ice glazed the ripe apples, drifts
the woods, which twelve hours since waved leafy and fragran
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
Whether black or white, the landscape of the soul after such passionate explosion
is cold and barren-as cold as England must seem to someone from the West Indie
as barren as "old thorn trees" (131) must appear to a woman accustomed to tropic
groves.
is consistently "rather snappish, but not 'ragious" (321). He also has period
outcries rivalling Jane's and Bertha's in intensity and violence. After the public
revelation of his secret thwarts the plan to take a second wife, he too becomes craze
"His voice was hoarse; his look that of a man who is just about to burst a
insufferable bond and plunge headlong into wild licence" (330). Rochester
"flaming glance" is like the "draught and glow of a furnace" (344) and poses a
greater threat than Bertha's pyromania. Jane, in fact, fears that her disappearan
will drive Rochester insane (454). If the possibly hyperbolic innkeeper is to be
disappointment: he never was a mild man, but he got dangerous, after he lost he
(452). Whether its effects are railing and insanity or merely trailing and duplicit
protagonist coincides with the initial appearances of the autobiographer, Jane Eyre
and of the novelist, Currer Bell. The fledgling author's tentative assertions of se
closely resemble those of the youthful protagonist. When BrontS refers to Curr
Bell as "an obscure aspirant" and a "struggling stranger" (35), one must think o
Jane, who is surely both of these things, both as young orphan when the novel open
and as a novice author when it closes. Her autobiography, written after ten years o
married life, confirms the pattern, noted by Mrs. Reed, of her "break[ing] out all fi
and violence" in the tenth year of their acquaintance. A habitually quiet demeano
feeling that Jane is duplicitous. Given the "fire and violence" of the novel itsel
readers may harbor similar suspicions.
general sentiment when she says, "I never saw a girl of her age with so much cover
(44). For instance, as Jane awaits John Reed's blow, she entertains herself by
"mus[ing] on the disgusting and ugly appearance of him who would presently de
it" (42). Her silent mockery of the master, which is never uttered, is, however
chair: he spent some three minutes in thrusting out his tongue at me as far as he co
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
without damaging the roots" (42). The incipient but silent wit o
even twenty years later, Jane can neither overlook nor forgive Mr
story: "Yes, Mrs Reed, to you I owe some fearful pangs of ment
reader ... for telling the plain truth" (141). Such jokes, as Roche
made aware of the ulterior motives that narration can serve. Jane
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
state that the life she tells is "insignificant," but her explanation of the narrative a
editorial method suggests otherwise: "I am only bound to invoke memory wher
know her responses will possess some degree of interest" (115). Writing her ow
story is the conscious and natural culmination of the signature that unconscious
announces her identity to St. John; it is an adult version of the edited tale told to M
Temple to defend herself against the charge of deceit. The narrative, readers ma
novel as "a plain tale with few pretensions" (35). Perhaps we are intended to respon
with impatience, as Rochester does when Jane is formally introduced to him: "O
acerbic attack upon the "timorous or carping few" (35) who find the novel an affro
evinces the same rhetorical strategy. Her verbal attacks are hardly "framed to tick
delicate ears" (36), and readers are justified in suspecting that what Rochester
described as Jane's "sly penknife" is but another name for the author's sly pen.
Presented with a tale of sensational incident and strong feeling, readers are place
in a position resembling the protagonist's when she watches the arrival of Rocheste
and his guests at Thornfield. Exposed to a fascinating, foreign, but forbidden worl
she experiences
an acute pleasure in looking--a precious yet poignant pleasure; pure gold,
with a steely point of agony: a pleasure like what the thirst-perishing man
might feel who knows the well to which he has crept is poisoned, yet stoops
Or perhaps like St. John Rivers, we indulge ourselves in a tale of "love rising li
a freshly opened fountain" (399)--though we in all likelihood lack this "cold, ha
like a "sweet inundation" of pastoral fields "assiduously sown with the seed of go
young germs swamped--delicious poison cankering them" (399). His plans surviv
the seductions of art-both Jane's drawing of "the Peri" (389) and her narrative
conjugal contentment. Readers, however, are unlikely to succumb, for the narrat
toys with us as impishly and as mercilessly as Jane does with St. John, enticing
with divine draughts of fiction, sweeping us away upon a flood of nectarous words
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
End (376), but this gratification would not seem to explain why sh
again. In the first thirty years of her life she pens little more
reader?
juridical. The Song of Songs and Jane Eyre address the anarchic th
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
The "separation that unites" has consistently defined Jane's and Rocheste
(165). When that gap is overcome by betrothal, she reimposes the econom
eclipsing her view of God, she resolves to "maintain that distance between you a
myself most conducive to our real mutual advantage" (301). And just when th
advantage is about to be compromised by marriage, the lovers are separated b
Rochester's pre-existent marriage-a legal hiatus made literal by Jane's parado
cal expression of love, her flight from Thornfield. Marriage threatens the tensi
generating erotic intensity. If the condition that spawned their passion is to
sustained, fulfillment must remain in the future.
the linguistic act whose very premise is incompletion and whose force resides in th
tension between desire for and distance from the promised act. When Rochester as
Jane to "[p]romise me one thing," she replies, "I'll promise you anything, sir, th
I think I am likely to perform" (254). In saying this, she alludes to the predicti
rather than the obligational dimension of promising. Emphasis is shifted to t
inherent futurity that is predicted by promises and that sustains their significanc
Promises in Jane Eyre are not so much descriptive of the emotions that give rise t
them as they are constitutive of the anticipatory anxiety upon which those emotio
depend. They speak not of the present, and even less of a fixed point in the future
example of this than betrothal, which by its very nature enacts a separation-in tim
with a true dialectical synthesis of amorous experience, including its universally disturbing, pathetic, enthusiastic, or melancholy aspect on the one hand,
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
guage.'4
By having Jane write the story of her life, Bronta reasserts the distance and
futurity encoded in promises and threatened by marriage. Jane's autobiographical
voice resists the legitimizing and monologizing force of married life, despite her
claim that she and her husband are in "perfect concord" (476). She supports this
conclusion by observing that she and Rochester "talk, I believe, all day long" (476).
Readers who recall that "tete-a-tete conversation" (299) has previously served as
a kind of hand-to-hand combat will not be surprised by this garrulity, but they may
well question Jane's profession of "perfect concord." Given the teasing in- and
misdirections with which she tells Rochester of her life after leaving Thornfield (all
with the aim of eliciting "his old impetuosity" [470]), readers have every reason to
suspect that Jane's voice is once again used to establish the eroticized distance that
typified her betrothal. Furthermore, the Biblical metaphor applied to this marital
unity is double-edged. Jane says that she has become "bone of his bone and flesh
of his flesh" (476, Genesis 2:23). This figure of speech ingeminates the tension
between the sacred and the profane heard previously in Rochester's supernatural
discourse and reinforced by his telling Jane that she, not the "beneficent God" to
whom he appeals for her return, is "the alpha and omega of my heart's wishes"
(471). Her narrative, then, suggests a counterpoint to the happy hum of conjugal
conversation. To write her story is to bring it into question, for she can escape neither
logophobia, which the internal tales of love dramatize, nor the dialectic of distance
a useless burden! Don't long for poison--don't turn out a downright Eve on my
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
hands!" (290). His upright wife does prove to be a "downright Eve," however, an
in ways that Rochester cannot envision. The "apple of his eye" (476) offers reader
a seductive narrative fruit that threatens the complacency and univocal power
authority. Brontf's Eve, like the heroine of the Song of Songs, "by her lyrica
dancing, theatrical language, by an adventure that conjugates a submission to
legality and the violence of passion" (Kristeva 99-100), leaves readers with the
ambivalent knowledge that her language is as unreliable as it is nectarous.
State University of New York
Albany, New York
NOTES
2. There have been a number of excellent readings of Jane Eyre in recent years. I wo
like to acknowledge the three by Bodenheimer, Hennelly, and Kucich, as having
particularly helpful to me. I would also like to recognize the students ofmy Britishno
classes who have provided stimulating discussions of Jane Eyre. I mention in parti
an insightful essay on style and the language of courtship written by Sandra Deel
3. The Corsair song itself suggests Byron's presence in Jane Eyre. Byron's influen
Brontd has been widely discussed. See Bloom, Schorer, Stone, and Beaty.
4. Jane alludes to the limits of childhood perception and expression in terms suggestiv
James's "Preface" to What Maisie Knew: "Children can cannot analyse their feelin
and if the analysis is partially effected in thought, they know nothow to express the r
language are Helen Burns (101), Mrs. Ingram (206), Mrs. Fairfax (293), and St. J
Rivers (366, 380, 382). (Bronta's interest in phrenology has been well-documented
her biographers. See Chase. For alistof phrenological allusions in the novel, see Dor
Roberts.)
6. Rochester, who has previously (and deviously) suggested through the charades that
marriage is a prison, now hears that story read to him. Jane tells the gipsy that the stories
of wealthy lovers "run on the same theme--marriage; and promise to end in the same
catastrophe-marriage" (228-29).
Other performances are characterized by similar incongruities. The charades, for
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
choice of this fable is itself unsettling since the rats, who in self-inte
throughout the novel have always been the mark of sincerity" ( Mart
10. While Jane can be "a mad cat" (44) and has, by her own admission
excess and the suppressive forces it can call up. .... She seems c
Victorian idea of woman falling, when she falls, into comple
her mad curses are about the hidden life of the body: 'such lang
harlot ever had a fouler vocabulary than she ' " (Maynard 106-7)
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
12. Tromly also argues that Jane's narrative is not to be fully trusted, but she excludes Bron
herself from this criticism: 'Throughout the novel Jane's active artistic imagination
shapes the image she presents of herself; clearly Brontd does not intend the reader t
accept the limitations of romantic self-portraiture uncritically" (43).
concludes that as a narrator Jane is neither " 'relatively reliable' like Moll Flanders no
'relatively unreliable' like Molly Bloom. She is somewhere in between the two, bu
Earl A. Knies holds the opposing view: "This complete honesty, this perfect candor
then, provides a structure upon which the reliability of thenarrative is built"(Knies 112)
13. Janet Spens and Jerome Beaty have traced the similarities between Richardson's and
Bronta's novels.
14. Rochester's request that Jane promise to sit up with him on his wedding night (248)
similarly false. When he keeps her to this promise (307), circumstances have change
considerably, for it is Jane not Blanche who is the prospective bride.
Rochester also speaks falsely when Jane asks him to promise "that I and Adele shall
be both safe out of the house before your bride enters it" (254). His bride, of cours
already lives there, so his agreement is doubly misleading because of the incorrec
supposition that it sustains.
15. Delilah figures as the archetypal temptress in both Jane's and Rochester's imagination
."Jane Eyre at Gateshead: Mixed Signals in the Text and Context." VictorianLit
and Society: Essays Presented to Richard Altick. Ed. James R. Kincaid and Alb
Bloom, Harold. "Introduction." Charlotte Bronte's Jane Eyre. Ed. Harold Blo
York: Chelsea House, 1987.
Bront#, Charlotte. "A Word to The Quarterly." Jane Eyre. Ed. Richard J. Dunn. N
W. W. Norton, 1971.
. Jane Eyre. Ed. Q. D. Leavis. Harmondsworth: Penguin, 1966.
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms
Hennelly, Mark M., Jr. "Jane Eyre's Reading Lesson." ELH 51 (1984
James, Henry. "Preface." What Maisie Knew. New York: Charles Scr
Roberts, Doreen. "Jane Eyre and 'The Warped System of Things.' " Reading the Victorian
Novel: Detail into Form. Ed. Ian Gregor. London: Vision, 1980. 131-49.
Schorer, Mark. "Jane Eyre." The World We Imagine: Selected Essays by MarkSchorer. New
York: Farrar, Strauss, & Giroux, 1968. 80-96.
Spens, Janet. "Charlotte Brontd." Essays and Studies by Members of the English Association
14 (1929): 53-70.
Stone, Donald D. The Romantic Impulse in Victorian Fiction. Cambridge: Harvard University Press, 1980.
Sullivan, Paula. "Rochester Reconsidered: Jane Eyre in the Light of the Samson Story."
Bronte Society Transactions 16 (1973): 192-98.
Tromly, Annette. The Cover of the Mask: The Autobiographers in Charlotte Brontf's
Fiction. ELS Monograph Series 26. Victoria, B.C.: University of Victoria Press, 1982.
This content downloaded from 41.227.137.115 on Fri, 16 Sep 2016 09:11:00 UTC
All use subject to http://about.jstor.org/terms