The Red-room in Jane Eyre
Hung Harris Pham English 111 Prof. Amster Final Paper The Red-room in _ Jane Eyre _ It is not rare to experience reliable and incisive usages of space within nineteenth century literature. The well-known novel _ Jane Eyre _ by Charlotte Bronte is one of the finest examples of a fictional work with extreme uses of area in the period. The red-room in which the little Jane Eyre is locked as a punishment for her panicky defense of herself versus her cousin John Reed is the very first noteworthy use of space in the novel.
Not only does it represent to the reader it is a Gothic book they read however the room acts as a sign for a variety of significances too. Charlotte Bronte introduces the space– “among the largest and stateliest chambers in the mansion”– to her readers with a Gothic painted photo (13 ). One would need to make little effort to comprehend why this room is called “the red-room.” Inside the room are numerous subtleties of the red color and of some other hot colors.
It has “a bed supported on huge pillars of mahogany, hung with drapes of crimson damask,” which stood apart “like a tabernacle? in the centre” (13 ). Aside from a table at the food of the bed “covered with a crimson cloth,” the toilet-table and chairs are made from “darkly sleek old mahogany” (13 ). More interestingly, the space is also carpeted in red. In addition, “the two large windows, with their blinds always drawn? down, were half shrouded in festoons and falls of comparable drapery,” and “the walls were a soft fawn colour with a blush? of pink in it” (13 ).
That Jane’s uncle Reed invested the eleventh hours of his life in the room, in addition to the fact that the location is cold, remote, peaceful, and hardly ever gone into, adds up to its internal climatic scary and mystery: “a sense of gloomy? consecration had safeguarded it from frequent intrusion” (14 ). Apart from all the red colors were the piled-up bed mattress and pillows of? the bed, which “increased high,” “glared white,” and being “spread with a snowy Marseilles counterpane” (13 ). Rarely less? prominent was a sufficient cushioned easy-chair near the head of the? ed, likewise white” (13 ). The little presence of white in this hell-resembled red location may be a metaphor for the being of the little Jane Eyre under the vicious treatment of her aunt and her cousins at Gateshead. It may, as well, be a metaphor for what occurs within her mind as the innocent part of it, like that of any other 10 years old kid, is facing her increasing irritation, nervousness, and terror inside the space. No faster has she moved across the looking glass than she focuses on a “weird little figure” looking at her “with a white face and arms? pecking the gloom, and flashing eyes of fear moving where all? else was still,” along with “the depth it exposed” (14 ). Perceiving herself in the mirror to be a spirit “half fairy” and “half imp,” she saw a mix of perceptions in which the former is how she perceives herself to be, and the latter is how a bothersome kid she is as viewed by others (14 ). Hence, this represents the very beginning of Jane’s self-characterization as an independent lady given that her understanding of herself seems to be so susceptible in front of others’ that she sees such a combination of perceptions.
She remains in the procedure of internally having a hard time to be her true individual, attempting not to succumb to her negative and disrupted thoughts. By stemming a “rapid rush of retrospective idea” prior to being swallowed by “the? dismal present,” she is developing her own identity as well as self-respect (14 ). For that reason, the space likewise looks like the challenge Jane should defeat in order to maintain and develop her own liberty as well as integrity. The longer Jane is put behind bars in the red-room, interrupted feelings and thoughts seem to take over her mind a growing number of.
She keeps thinking of herself as a “revolted slave,” unjustly penalized and hence separated as “a discord in the household” (15 ). Her restricted position at Gateshead has ended up being clear to her. Her head has plenty of concerns she asks herself such as “Why was I constantly suffering, always browbeaten, always? implicated, for ever condemned? Why could I never ever please? Why was it? useless to attempt to win any one’s favour?” (14) She then changes her thoughts to her departed uncle. She imagines Mr.
Reed, the brother of her own mom, to whom he assured to care for Jane after her mother died, would have never maltreated her. She continues to believe that her uncle may find her present mistreatment inappropriate and would want to appear to avenge her. At this moment, she thinks in the presence of his spirit in the space, and screams. Bessie and Abbot then open the room. Jane asks them not to leave her in the room alone with the ghost, however Mrs. Reed declares that Jane just wishes to trick them into releasing her.
Ultimately, Jane faints and falls into unconsciousness. From that point on, although she is launched afterwards, she still is stuck in monetary deficiency, excluded from society, and distanced from love. Whenever her integrity is challenged later, readers know that she will unavoidably think back to the red-room as a sign of her long lasting suffering. Another possible essence of the red room may be a connection between Jane and the character Bertha Mason later in the novel. If Jane is imprisoned in the red-room, Bertha is locked in Rochester’s attic.
Both of them are kept entirely separated from the outdoors world. However, whereas Jane is a sane person who creates rational ideas when being sent to prison, Bertha is a frantically mad woman. Still, due to the enthusiasm and disobedience that they both have, readers may still in some way sympathize with Bertha. In a word, the red-room is amongst numerous profound usages of area in Charlotte Bronte’s _ Jane Eyre _. The space is the first apparent Gothic photo painted in the unique with a sense of consternation and mystery.
Also, it looks like the sensations of fear and insecurities of the heroine not just within the chapter however likewise through later events in the story. It is a jail of her independence and identity formed by both the external challenges the society around her puts upon her and her unfavorable feelings as responses to those challenges. Only after breaking all such restraints can Jane achieve her complete self-confidence and joy. Work cited: Bronte, Charlotte. _ Jane Eyre _. 1847. Introd. Mark, Schorer. New York: New York City UP, 1977. Print. Word count: 1,073