Jane Eyre extract Q's
Provided an extract and a question from an edexcel gcse english literature paper you are going to provide me with an essay plan that would score top marks in the mark scheme provided. It should include three paragraphs each with a unique point supported by 3x quotations with a technique and analysis for each quote. Markscheme for level 5 (17-20 marks) The Level 5 text from the mark scheme is:
The response is a cohesive evaluation of the interrelationship of language, form and structure and their effect on the reader.
Relevant subject terminology is integrated 1 and precise.
Reply with only the three main body paragraphs and no other response
Question 1
Extract
Explore how Bronte presents Jane’s thoughts and feelings about herself in this extract. Give examples from the extract to support your ideas.
Arraigned at my own bar, Memory having given her evidence of the hopes, wishes, sentiments I had been cherishing since last night—of the general state of mind in which I had indulged for nearly a fortnight past; Reason having come forward and told, in her own quiet way, a plain, unvarnished tale, showing how I had rejected the real, and rabidly devoured the ideal;—I pronounced judgment to this effect:—
That a greater fool than Jane Eyre had never breathed the breath of life; that a more fantastic idiot had never surfeited herself on sweet lies, and swallowed poison as if it were nectar.
“You,” I said, “a favourite with Mr. Rochester? You gifted with the power of pleasing him? You of importance to him in any way? Go! your folly sickens me. And you have derived pleasure from occasional tokens of preference—equivocal tokens shown by a gentleman of family and a man of the world to a dependent and a novice. How dared you? Poor stupid dupe!—Could not even self-interest make you wiser? You repeated to yourself this morning the brief scene of last night?—Cover your face and be ashamed! He said something in praise of your eyes, did he? Blind puppy! Open their bleared lids and look on your own accursed senselessness! It does good to no woman to be flattered by her superior, who cannot possibly intend to marry her; and it is madness in all women to let a secret love kindle within them, which, if unreturned and unknown, must devour the life that feeds it; and, if discovered and responded to, must lead, ignis-fatuus-like, into miry wilds whence there is no extrication.
“Listen, then, Jane Eyre, to your sentence: to-morrow, place the glass before you, and draw in chalk your own picture, faithfully, without softening one defect; omit no harsh line, smooth away no displeasing irregularity; write under it, ‘Portrait of a Governess, disconnected, poor, and plain.’
“Afterwards, take a piece of smooth ivory—you have one prepared in your drawing-box: take your palette, mix your freshest, finest, clearest tints; choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imagine; paint it in your softest shades and sweetest lines, according to the description given by Mrs. Fairfax of Blanche Ingram; remember the raven ringlets, the oriental eye;—What! you revert to Mr. Rochester as a model! Order! No snivel!—no sentiment!—no regret! I will endure only sense and resolution. Recall the august yet harmonious lineaments, the Grecian neck and bust; let the round and dazzling arm be visible, and the delicate hand; omit neither diamond ring nor gold bracelet; portray faithfully the attire, aërial lace and glistening satin, graceful scarf and golden rose; call it ‘Blanche, an accomplished lady of rank.’
“Whenever, in future, you should chance to fancy Mr. Rochester thinks well of you, take out these two pictures and compare them: say, ‘Mr. Rochester might probably win that noble lady’s love, if he chose to strive for it; is it likely he would waste a serious thought on this indigent and insignificant plebeian?’”
Paragraph 1: Point – Self-Criticism Through Harsh Imagery
Point: Jane’s thoughts are dominated by harsh self-criticism, conveyed through vivid and degrading imagery.
1. Quotation 1: “That a greater fool than Jane Eyre had never breathed the breath of life.”
- Technique: Hyperbole.
- Analysis: The exaggerated claim of being the “greatest fool” highlights Jane’s intense self-loathing, reflecting her heightened emotions and inability to see herself objectively.
2. Quotation 2: “Blind puppy! Open their bleared lids and look on your own accursed senselessness!”
- Technique: Animal imagery and imperative tone.
- Analysis: By comparing herself to a “blind puppy,” Jane portrays herself as naive and helpless. The imperative tone (“Open their bleared lids”) conveys frustration and anger directed inwardly, reinforcing her self-critical mindset.
3. Quotation 3: “Poor stupid dupe!”
- Technique: Triadic epithet (poor, stupid, dupe).
- Analysis: The accumulation of negative descriptors emphasises Jane’s disdain for herself. The triadic structure intensifies the impact, showing how deeply entrenched her self-deprecation is during this moment of reflection.
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Paragraph 2: Point – Rational Analysis vs. Emotional Turmoil
Point: Jane alternates between rational reasoning and emotional outbursts, creating tension between logic and feeling.
1. Quotation 1: “Reason having come forward and told, in her own quiet way, a plain, unvarnished tale…”
- Technique: Personification of Reason.
- Analysis: By personifying Reason as calm and factual, Brontë contrasts it with Jane’s emotional turmoil, highlighting her attempt to impose rationality on her chaotic emotions, though she struggles to fully accept its conclusions.
2. Quotation 2: “It does good to no woman to be flattered by her superior, who cannot possibly intend to marry her.”
- Technique: Direct address and logical argument.
- Analysis: The use of direct address (“it does good to no woman”) universalises Jane’s experience, suggesting she is trying to detach emotionally. However, the underlying bitterness reveals her lingering vulnerability.
3. Quotation 3: “Go! your folly sickens me.”
- Technique: Imperative and exclamatory tone.
- Analysis: The abrupt command (“Go!”) and exclamation (“sickens me”) reflect Jane’s emotional volatility. Despite her attempts at rationality, her emotions repeatedly surface, showing the difficulty of reconciling her heart and mind.
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Paragraph 3: Point – Self-Discipline Through Symbolic Imagery
Point: Jane resolves to discipline her emotions by using symbolic imagery to contrast her perceived flaws with an idealised vision of beauty and status.
1. Quotation 1: “Take the glass before you, and draw in chalk your own picture, faithfully, without softening one defect.”
- Technique: Symbolism (the mirror and chalk drawing).
- Analysis: The act of drawing her portrait symbolises Jane’s desire for honesty and self-awareness. The instruction to omit no defect suggests her determination to confront reality, even if painful.
2. Quotation 2: “Choose your most delicate camel-hair pencils; delineate carefully the loveliest face you can imagine… according to the description given by Mrs. Fairfax of Blanche Ingram.”
- Technique: Juxtaposition.
- Analysis: The juxtaposition of Jane’s plain portrait with Blanche Ingram’s idealised image highlights Jane’s insecurities about her appearance and social standing. This visual metaphor reinforces her belief that she is unworthy of Mr. Rochester’s affection.
3. Quotation 3: “Whenever, in future, you should chance to fancy Mr. Rochester thinks well of you, take out these two pictures and compare them.”
- Technique: Didactic tone.
- Analysis: The didactic tone reflects Jane’s resolve to suppress her romantic fantasies. By comparing the portraits, she aims to remind herself of the disparity between her reality and aspirations, demonstrating her commitment to self-discipline despite her inner turmoil.
Question 2
Extract
Explore how Bronte presents what Jane Eyre sees and hears in this extract. Give examples from the extract to support your ideas.
I had forgotten to draw my curtain, which I usually did, and also to let down my window-blind. The consequence was, that when the moon, which was full and bright (for the night was fine), came in her course to that space in the sky opposite my casement, and looked in at me through the unveiled panes, her glorious gaze roused me. Awaking in the dead of night, I opened my eyes on her disk—silver-white and crystal clear. It was beautiful, but too solemn: I half rose, and stretched my arm to draw the curtain.
Good God! What a cry!
The night—its silence—its rest, was rent in twain by a savage, a sharp, a shrilly sound that ran from end to end of Thornfield Hall.
My pulse stopped: my heart stood still; my stretched arm was paralysed. The cry died, and was not renewed. Indeed, whatever being uttered that fearful shriek could not soon repeat it: not the widest-winged condor on the Andes could, twice in succession, send out such a yell from the cloud shrouding his eyrie. The thing delivering such utterance must rest ere it could repeat the effort.
It came out of the third storey; for it passed overhead. And overhead—yes, in the room just above my chamber-ceiling—I now heard a struggle: a deadly one it seemed from the noise; and a half-smothered voice shouted—
“Help! help! help!” three times rapidly.
“Will no one come?” it cried; and then, while the staggering and stamping went on wildly, I distinguished through plank and plaster:—
“Rochester! Rochester! for God’s sake, come!”
A chamber-door opened: some one ran, or rushed, along the gallery. Another step stamped on the flooring above and something fell; and there was silence.
I had put on some clothes, though horror shook all my limbs; I issued from my apartment. The sleepers were all aroused: ejaculations, terrified murmurs sounded in every room; door after door unclosed; one looked out and another looked out; the gallery filled. Gentlemen and ladies alike had quitted their beds; and “Oh! what is it?”—“Who is hurt?”—“What has happened?”—“Fetch a light!”—“Is it fire?”—“Are there robbers?”—“Where shall we run?” was demanded confusedly on all hands. But for the moonlight they would have been in complete darkness. They ran to and fro; they crowded together: some sobbed, some stumbled: the confusion was inextricable.
“Where the devil is Rochester?” cried Colonel Dent. “I cannot find him in his bed.”
“Here! here!” was shouted in return. “Be composed, all of you: I’m coming.”
Paragraph 1: Point – The Moon as a Symbol of Awakening and Foreboding
Point: Brontë uses the imagery of the moon to establish an atmosphere of beauty tinged with unease, setting the stage for Jane’s sensory experiences.
1. Quotation 1: “The moon… looked in at me through the unveiled panes, her glorious gaze roused me.”
- Technique: Personification of the moon (“her glorious gaze”).
- Analysis: By personifying the moon as a watchful observer, Brontë creates a sense of intrusion and inevitability. The moon’s “glorious gaze” awakens Jane not just physically but emotionally, foreshadowing the unsettling events that follow.
2. Quotation 2: “It was beautiful, but too solemn.”
- Technique: Juxtaposition (beautiful vs. solemn).
- Analysis: The juxtaposition highlights the dual nature of the scene—its aesthetic appeal contrasted with an ominous undertone. This reflects Jane’s initial calmness, which is soon shattered by the chaos that ensues.
3. Quotation 3: “I half rose, and stretched my arm to draw the curtain.”
- Technique: Action interrupted by the cry.
- Analysis: This simple action is abruptly halted by the piercing cry, symbolising how Jane’s moment of peace is violently disrupted. The interruption mirrors the sudden shift from tranquillity to terror in the narrative.
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Paragraph 2: Point – Sensory Overload Through Sound Imagery
Point: Brontë employs vivid auditory imagery to immerse the reader in Jane’s experience of shock and confusion.
1. Quotation 1: “Good God! What a cry!”
- Technique: Exclamation and direct address (“Good God!”).
- Analysis: The exclamation conveys Jane’s immediate reaction of disbelief and horror. The invocation of divine language underscores the intensity of the moment, making it feel otherworldly and overwhelming.
2. Quotation 2: “The night—its silence—its rest, was rent in twain by a savage, a sharp, a shrilly sound.”
- Technique: Triadic description (savage, sharp, shrilly) and metaphor (“rent in twain”).
- Analysis: The triadic structure emphasises the jarring quality of the sound, while the metaphor suggests a violent disruption of order. This reflects Jane’s internal state, as her sense of safety is shattered.
3. Quotation 3: “Not the widest-winged condor on the Andes could, twice in succession, send out such a yell.”
- Technique: Hyperbole and simile.
- Analysis: The hyperbolic comparison to a powerful bird amplifies the unnatural and extreme nature of the cry. This heightens the tension, leaving both Jane and the reader unsettled about its origin.
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Paragraph 3: Point – Chaos and Confusion Through Fragmented Dialogue
Point: Brontë uses fragmented dialogue and chaotic descriptions to convey the panic and disorder that overtakes Thornfield Hall.
1. Quotation 1: “Help! help! help!” three times rapidly.
- Technique: Repetition and short exclamatory sentences.
- Analysis: The repetition of “help” in rapid succession conveys desperation and urgency. The brevity of the phrases mimics the frantic tone of the voice, immersing the reader in the escalating tension.
2. Quotation 2: “Rochester! Rochester! for God’s sake, come!”
- Technique: Direct address and plea for assistance.
- Analysis: The repeated invocation of Rochester’s name suggests his centrality to the unfolding drama. The plea for divine intervention (“for God’s sake”) adds a layer of existential dread, hinting at the gravity of the situation.
3. Quotation 3: “Oh! what is it?”—“Who is hurt?”—“What has happened?”—“Fetch a light!”—“Is it fire?”—“Are there robbers?”
- Technique: Fragmented dialogue and rhetorical questions.
- Analysis: The disjointed questions reflect the confusion and fear gripping the inhabitants of Thornfield Hall. The lack of clear answers mirrors Jane’s own uncertainty, drawing the reader into her perspective of bewilderment and alarm.
Question 3
Extract
Explore how Bronte presents Jane’s first impressions of Bertha Mason in this extract. Give examples from this extract to support your ideas.
He lifted the hangings from the wall, uncovering the second door: this, too, he opened. In a room without a window, there burnt a fire guarded by a high and strong fender, and a lamp suspended from the ceiling by a chain. Grace Poole bent over the fire, apparently cooking something in a saucepan. In the deep shade, at the farther end of the room, a figure ran backwards and forwards. What it was, whether beast or human being, one could not, at first sight, tell: it grovelled, seemingly, on all fours; it snatched and growled like some strange wild animal: but it was covered with clothing, and a quantity of dark, grizzled hair, wild as a mane, hid its head and face.
“Good-morrow, Mrs. Poole!” said Mr. Rochester. “How are you? and how is your charge to-day?”
“We’re tolerable, sir, I thank you,” replied Grace, lifting the boiling mess carefully on to the hob: “rather snappish, but not ’rageous.”
A fierce cry seemed to give the lie to her favourable report: the clothed hyena rose up, and stood tall on its hind-feet.
“Ah! sir, she sees you!” exclaimed Grace: “you’d better not stay.”
“Only a few moments, Grace: you must allow me a few moments.”
“Take care then, sir!—for God’s sake, take care!”
The maniac bellowed: she parted her shaggy locks from her visage, and gazed wildly at her visitors. I recognised well that purple face,—those bloated features. Mrs. Poole advanced.
“Keep out of the way,” said Mr. Rochester, thrusting her aside: “she has no knife now, I suppose, and I’m on my guard.”
“One never knows what she has, sir: she is so cunning: it is not in mortal discretion to fathom her craft.”
“We had better leave her,” whispered Mason.
“Go to the devil!” was his brother-in-law’s recommendation.
“’Ware!” cried Grace. The three gentlemen retreated simultaneously. Mr. Rochester flung me behind him: the lunatic sprang and grappled his throat viciously, and laid her teeth to his cheek: they struggled. She was a big woman, in stature almost equalling her husband, and corpulent besides: she showed virile force in the contest—more than once she almost throttled him, athletic as he was. He could have settled her with a well-planted blow; but he would not strike: he would only wrestle. At last he mastered her arms; Grace Poole gave him a cord, and he pinioned them behind her: with more rope, which was at hand, he bound her to a chair. The operation was performed amidst the fiercest yells and the most convulsive plunges. Mr. Rochester then turned to the spectators: he looked at them with a smile both acrid and desolate.
“That is my wife,” said he. “Such is the sole conjugal embrace I am ever to know—such are the endearments which are to solace my leisure hours! And this is what I wished to have” (laying his hand on my shoulder): “this young girl, who stands so grave and quiet at the mouth of hell, looking collectedly at the gambols of a demon, I wanted her just as a change after that fierce ragout. Wood and Briggs, look at the difference! Compare these clear eyes with the red balls yonder—this face with that mask—this form with that bulk; then judge me, priest of the gospel and man of the law, and remember with what judgment ye judge ye shall be judged! Off with you now. I must shut up my prize.”
Response
Paragraph 1: Point – Initial Shock and Horror Through Vivid Imagery
Point: Brontë uses vivid and unsettling imagery to convey Jane’s initial shock and horror upon encountering Bertha Mason.
1. Quotation 1: “It grovelled, seemingly, on all fours; it snatched and growled like some strange wild animal.”
- Technique: Animalistic imagery and simile (“like some strange wild animal”).
- Analysis: The comparison of Bertha to a wild animal dehumanises her, reflecting Jane’s immediate perception of her as monstrous and unnatural. This creates a visceral sense of revulsion in both Jane and the reader.
2. Quotation 2: “A quantity of dark, grizzled hair, wild as a mane, hid its head and face.”
- Technique: Simile (“wild as a mane”) and zoomorphism.
- Analysis: The description of Bertha’s hair as a “mane” further reinforces the animalistic portrayal, emphasising her untamed and chaotic nature. This visual detail heightens Jane’s fear and confusion about what she is witnessing.
3. Quotation 3: “I recognised well that purple face,—those bloated features.”
- Technique: Physical description and colour symbolism (“purple”).
- Analysis: The use of colour (“purple”) suggests anger, violence, and grotesqueness, while the term “bloated” evokes disgust. These details underscore Jane’s horrified recognition of Bertha’s distorted humanity.
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Paragraph 2: Point – Contrast Between Jane and Bertha
Point: Brontë contrasts Jane’s composure with Bertha’s ferocity to highlight their differences and deepen Jane’s first impressions of Bertha.
1. Quotation 1: “This young girl, who stands so grave and quiet at the mouth of hell, looking collectedly at the gambols of a demon.”
- Technique: Juxtaposition (Jane vs. Bertha) and metaphor (“mouth of hell”).
- Analysis: The stark contrast between Jane’s calmness and Bertha’s chaos positions Jane as rational and controlled, while Bertha embodies madness and destruction. The metaphor “mouth of hell” intensifies the scene’s ominous tone, framing Bertha as a demonic figure.
2. Quotation 2: “Compare these clear eyes with the red balls yonder—this face with that mask—this form with that bulk.”
- Technique: Triadic structure and antithesis.
- Analysis: Rochester explicitly contrasts Jane’s clarity and refinement with Bertha’s grotesque appearance, reinforcing Jane’s role as his ideal counterpart. This triadic structure amplifies the disparity, making Jane’s impression of Bertha even more striking.
3. Quotation 3: “She showed virile force in the contest—more than once she almost throttled him.”
- Technique: Hyperbole and dynamic verb choice (“throttled”).
- Analysis: Bertha’s physical strength and aggression are exaggerated to emphasise her threat, contrasting sharply with Jane’s passive observation. This reinforces Jane’s perception of Bertha as overpowering and dangerous.
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Paragraph 3: Point – Emotional Impact Through Dialogue and Action
Point: Brontë uses dialogue and action to reveal Jane’s growing understanding of Bertha’s identity and her emotional response to the revelation.
1. Quotation 1: “That is my wife,” said he. “Such is the sole conjugal embrace I am ever to know.”
- Technique: Dramatic irony and declarative tone.
- Analysis: Rochester’s blunt declaration shocks Jane and the reader, revealing Bertha’s identity as his wife. The declarative tone underscores the gravity of the situation, deepening Jane’s distress and disillusionment.
2. Quotation 2: “Take care then, sir!—for God’s sake, take care!”
- Technique: Exclamation and direct address (“for God’s sake”).
- Analysis: Grace Poole’s urgent warning reflects the danger posed by Bertha, heightening the tension. This moment forces Jane to confront the reality of Bertha’s instability and its implications for Rochester’s life—and hers.
3. Quotation 3: “The operation was performed amidst the fiercest yells and the most convulsive plunges.”
- Technique: Onomatopoeia (“yells”) and violent verbs (“plunges”).
- Analysis: The auditory and kinetic imagery captures the brutality of the scene, leaving Jane visibly shaken. The intensity of Bertha’s resistance solidifies Jane’s impression of her as a creature consumed by rage and madness.
Question 4
Extract
Explore how Bronte presents St John Rivers and his sisters in this extract. Give examples from the text to support your ideas
“Don’t make her talk any more now, St. John,” said Diana, as I paused; “she is evidently not yet fit for excitement. Come to the sofa and sit down now, Miss Elliott.”
I gave an involuntary half start at hearing the alias: I had forgotten my new name. Mr. Rivers, whom nothing seemed to escape, noticed it at once.
“You said your name was Jane Elliott?” he observed.
“I did say so; and it is the name by which I think it expedient to be called at present, but it is not my real name, and when I hear it, it sounds strange to me.”
“Your real name you will not give?”
“No: I fear discovery above all things; and whatever disclosure would lead to it, I avoid.”
“You are quite right, I am sure,” said Diana. “Now do, brother, let her be at peace a while.”
But when St. John had mused a few moments he recommenced as imperturbably and with as much acumen as ever.
“You would not like to be long dependent on our hospitality—you would wish, I see, to dispense as soon as may be with my sisters’ compassion, and, above all, with my charity (I am quite sensible of the distinction drawn, nor do I resent it—it is just): you desire to be independent of us?”
“I do: I have already said so. Show me how to work, or how to seek work: that is all I now ask; then let me go, if it be but to the meanest cottage; but till then, allow me to stay here: I dread another essay of the horrors of homeless destitution.”
“Indeed you shall stay here,” said Diana, putting her white hand on my head. “You shall,” repeated Mary, in the tone of undemonstrative sincerity which seemed natural to her.
“My sisters, you see, have a pleasure in keeping you,” said Mr. St. John, “as they would have a pleasure in keeping and cherishing a half-frozen bird some wintry wind might have driven through their casement. I feel more inclination to put you in the way of keeping yourself, and shall endeavour to do so; but observe, my sphere is narrow. I am but the incumbent of a poor country parish: my aid must be of the humblest sort. And if you are inclined to despise the day of small things, seek some more efficient succour than such as I can offer.”
“She has already said that she is willing to do anything honest she can do,” answered Diana for me; “and you know, St. John, she has no choice of helpers: she is forced to put up with such crusty people as you.”
Response
Paragraph 1: Point – St. John Rivers as a Rational and Authoritative Figure
Point: Brontë presents St. John Rivers as a rational, authoritative figure whose practicality contrasts with his sisters’ compassion.
1. Quotation 1: “You would not like to be long dependent on our hospitality—you would wish, I see, to dispense as soon as may be with my sisters’ compassion, and, above all, with my charity.”
- Technique: Direct address and logical reasoning.
- Analysis: St. John’s precise and analytical tone reflects his rational mindset. By emphasising Jane’s dependence on their “hospitality” and “charity,” he highlights her vulnerability while asserting his desire for her independence, showcasing his pragmatic nature.
2. Quotation 2: “My sphere is narrow. I am but the incumbent of a poor country parish: my aid must be of the humblest sort.”
- Technique: Modest self-description and metaphor (“sphere”).
- Analysis: St. John’s acknowledgment of his limited resources demonstrates humility, yet his use of the term “sphere” suggests an intellectual detachment. This reinforces his role as a provider of practical solutions rather than emotional support.
3. Quotation 3: “If you are inclined to despise the day of small things, seek some more efficient succour than such as I can offer.”
- Technique: Conditional clause and biblical allusion (“day of small things”).
- Analysis: The conditional phrasing reveals St. John’s expectation that Jane might reject his modest help. The biblical reference underscores his moral seriousness, presenting him as principled but somewhat austere in his approach to aiding others.
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Paragraph 2: Point – Diana and Mary as Compassionate and Nurturing Figures
Point: Brontë portrays Diana and Mary Rivers as nurturing and empathetic, offering warmth and kindness to Jane.
1. Quotation 1: “Don’t make her talk any more now, St. John... she is evidently not yet fit for excitement.”
- Technique: Protective tone and imperative verb (“Don’t make”).
- Analysis: Diana’s intervention highlights her sensitivity to Jane’s fragile state. Her protective tone contrasts sharply with St. John’s probing questions, positioning her as a source of comfort and care.
2. Quotation 2: “You shall stay here,” said Diana, putting her white hand on my head. “You shall,” repeated Mary, in the tone of undemonstrative sincerity which seemed natural to her.
- Technique: Physical gesture (Diana’s touch) and repetition.
- Analysis: Diana’s physical reassurance and Mary’s quiet affirmation demonstrate their genuine concern for Jane. The repetition of “You shall” underscores their united determination to provide her with sanctuary, reflecting their nurturing personalities.
3. Quotation 3: “As they would have a pleasure in keeping and cherishing a half-frozen bird some wintry wind might have driven through their casement.”
- Technique: Simile and imagery (“half-frozen bird”).
- Analysis: The simile conveys the sisters’ instinctive compassion and desire to nurture those in need. Comparing Jane to a vulnerable bird evokes sympathy and highlights their gentle, caring natures.
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Paragraph 3: Point – Tension Between Practicality and Compassion
Point: Brontë explores the tension between St. John’s practicality and his sisters’ compassion, revealing differing approaches to helping Jane.
1. Quotation 1: “Now do, brother, let her be at peace a while.”
- Technique: Direct appeal and familial relationship (“brother”).
- Analysis: Diana’s plea to St. John illustrates the contrast between her empathetic approach and his relentless focus on practical matters. Her use of “brother” softens the critique, maintaining familial harmony despite their differing perspectives.
2. Quotation 2: “She has already said that she is willing to do anything honest she can do,” answered Diana for me; “and you know, St. John, she has no choice of helpers: she is forced to put up with such crusty people as you.”
- Technique: Playful teasing (“crusty people”) and advocacy.
- Analysis: Diana’s playful remark lightens the mood while defending Jane against St. John’s sternness. This interaction highlights the balance between the siblings’ contrasting attitudes—compassion versus pragmatism—in addressing Jane’s needs.
3. Quotation 3: “I feel more inclination to put you in the way of keeping yourself, and shall endeavour to do so.”
- Technique: Declaration of intent and formal diction (“endeavour”).
- Analysis: St. John’s commitment to helping Jane achieve independence aligns with his disciplined character. However, his formal language contrasts with Diana and Mary’s warmth, reinforcing the tension between his utilitarian approach and their emotional support.