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Jane Eyre and Symbolism - College Term Paper

Jane Eyre and Symbolism

Charlotte Brontë's ability to use her encyclopaedic knowledge of the Bible first appears in her painting of a frieze on a medieval church that tell an unfolding story in pictures. On his first full day back at Thornfield (Vol I, Ch 13). Jane describes her painting, first explaining that "as I saw them with a spiritual eye, before I attempted to embody them, they were striking." This first painting, a scene of a desolate shipwreck, portrays a cormorant: "its beak held a gold bracelet, set with gems." The cormorant is the key to undrersanding the work, but only it becomes so when conjoined with Jane's portrait of Blanche Ingram (Vol lI Ch1), which she painted before Jane had meet her. The ...

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and her friends have for their social inferiors (in particular for educated women such as Jane Eyre/Charlotte Brontë savagely illustrated in VolI Ch 2). This painting is Jane (and Brontë's) riposte.

The second painting is not religious but belongs to Greek legend. It portrays the "Evening Star;" the "foreground only the dim peak of a hill . . . leaves slanting as if by a breeze". . . ."Rising into into the sky, was a woman's shape to the bust." The painting is immediately identified by Rochester, who asks Jane, "Where did you see Latmos? For that is Latmos." In Greek legend Latmos, or more correctly Mt Latmos, is where the goddess Selene first saw and fell in love with Endymion, vowing to protect him for ever. Already we are informed of Jane's emotional commitment at only her second meeting with Rochester. It should also be noted that it is Rochester, not Jane, who identifies the setting for the painting.

The third and final painting in Jane Eyre is the most egnamatic of the ...

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PAPER DETAILS

Added: 3/28/2011 01:15:13 AM
Submitted By: starfruits
Category: Book Reports
Type: Premium Paper
Words: 504
Pages: 2

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