- What is the greater problem: the deceit or the first wife?
- Why would she forgive him so quickly? Is she is so subject to her own fancy, injected as it is by his supercharged rhetoric and emotion? Why does such quick revolution say about Jane and/or her love for Rochester? Finally, how can she consider it forgiveness here if in the end she leaves anyway?
- Maybe I watch too many romantic comedies now that I'm married, but I can't help but wonder (and such supposition is, at its heart, ridiculous, since characters of a book or movie do not exist beyond their pages, film, or bits and bites and pixels) if Rochester had some nagging doubt that he might be found out and so planned only the smallest wedding to be as little publicly humiliated as possible. Contradict me, please: It seems out of Rochester's character, especially in view of his efforts to flood Jane with all the typical aristocratic accoutrement, to not have the grandest of available pomp and circumstance for such an occasion.
- I don't get this: Rochester has houses all over the place, right? France, elsewhere in England.... Why did he keep his monstrous wife in the abode as his "home base?" Why not put her elsewhere?
- Who is the antagonist of this chapter?
- "Birds were singing in brake and copse: birds were faithful to their mates; birds were emblems of love. What was I? In the midst of my pain of heart and frantic effort of principle, I abhorred myself." Birds were a motif early on with that book she read at Gateshead, which put them in grave- and churchyards, and islands and shipwrecks. Is there any connection between those birds and these now?
- "May you never appeal to Heaven in prayers so hopeless and so agonized as in that hour left my lips: for never may you, like me, dread to be the instrument of evil to what you wholly love." But we all hurt those whom we love.
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Saturday, January 22, 2011
Jane Eyre XXVII -- chapter 27: FAREWELL THORNFIELD
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