POLYPHONY AND THIRST FOR HAPPINESS: THE IMAGE OF CHILDHOOD IN CHARLOTTE BRONTË’S ‘JANE EYRE’
DOI:
https://doi.org/10.17072/2073-6681-2020-4-90-99Keywords:
Victorian literature, education novel, Charlotte Brontë, image of childhood, motif, polyphony, didactic pathos, Protestantism.Abstract
The article is devoted to the image of childhood as one of the most complex aesthetic elements in Charlotte Brontë’s novel Jane Eyre. The paper argues that there are two primarily important characteristics of the image in the novel: polyphony – that is, the presence of different points of view on the child and the adult – and thirst for happiness. Special attention is paid to the polyphony of voices describing the heroine-narrator. The paper also focuses on the role of the motifs of orphanhood, rejection and loneliness, on the one hand, and of search for happiness, on the other, in developing the image of childhood. The authors argue that the heroine-narrator not only overcomes ordeals but also accomplishes a multi-stage way of growing up – from vague impressions and sensations to a clear awareness, the development of principles and understanding of the structure of the world; from complete alienation from the world to the ability to empathize and open her heart to another; from creative inclinations and instinctiveness to enterprise, spiritual development, upholding her ‘naturalness’ and her own way. The paper researches Brontë’s technique of accuracy in details as applied to depict the development of the heroine-narrator’s spiritual world and her outer image and type of behavior. At the same time, it focuses on two versions (synchronic and in retrospect) of depicting Jane’s vision of her own behavior and character. There are also analyzed the ways of comparing and contrasting different child images in the novel: the one based on certain religious-didactic signals (Jane vs. Mrs. Reed’s children) and the one based on the religious system of values (Jane and Helen). The paper particularly emphasizes the role of natural tenacity (and naturalness in general) and the Protestant at its core model of responsible and natural behavior based on the feeling of love in leading the heroine-narrator to matrimonial happiness.References
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