Author: eohara (Page 14 of 28)

CPB #5 – 10/12/23

  • From the Novel:

“St. John is unmarried: he never will marry now…No fear of death will darken St. John’s last hour: his mind will be unclouded; his heart will be undaunted; his hope will be sure; his faith steadfast. His own words are a pledge of this: – “My Master,” he says, “has forwarned me. Daily he annouces more distinctly, – ‘Surely I come quickly’; and hourly I more eagerly respond, – ‘Amen; even so come, Lord Jesus!” (Brontë 556).

Brontë, Charlotte. Jane Eyre. Broadview Press, 2022.
  • Critical Commentary:

“…The way I think about it is theological, right? Whenever we’re dealing with someone’s death and the reasons behind their deaths. Brontë is always someone who thinks that there is a real Christainness to the way someone dies…Like Aunt Reed summons Jane, St. John is saying “Here I come, Lord Jesus,”…What’s theological about it to me is that every other character is given at least some conversation around their death, but this white creole woman, this mad woman, right – this alcoholic woman, this licentious woman, right, isn’t”

“On eyre: final thoughts”. Hot and bothered, Not sorry productions, 2023
  • Historical Context:

“Henry says he is comfortably settled in Sussex [ where he was then a vicar], that his health is very improved and that it is his intention to take pupils after Easter – he then intimates that in due time he shall want a wife to take care of his pupils and frankly aks me to be that wife…I asked myself two questions – “Do I love Henry Nussey as much as a woman ought to love her husband? Am I the person best qualified to make him happy?” Alas Ellen my conscious answered “no” to both these questions”.

“What became of St. john rivers,” https://www.annebronte.org/2019/05/13/what-became-of-the-real-st-john-rivers/
  • Visual

British Library “The Juvenile Missionary Magazine.” 1844.

2QSQ #6 – 10/9/23

2QSQ #6 Discovering Primary Resources

Example #1: Mental Health Search within Wellcome’s Catalogue

There were a variety of artifacts under this search, such as mental health of twins, patient certificates and admission forms, private accounts, medical journals/weekly statements, case records of various date intervals, report & general statements of accounts, annual accounts/report & accounts, and out letters. Most of the artifacts came from either the Ticehurst House Hospital, which was opened by Samuel Newington in 1792 as a psychiatric hospital, and then the Mental After Care Association, which was founded in 1879 by Reverend Henry Hawkins – originally called the “After Care Association for Poor & Friendless Female Convulensencts on Leaving Asylums for the Insane.” For my artifact, I selected the “Patients’ Bills & House Account Settlements,” which came from Ticehurst House Hospital between 1811 and 1819. The images showcased a small book – looked a bit like a ledger – with first an alphabetical/address book type of format listing the names of individuals I assume to be patients and/or their guardians. These pages generally included names with an accompanying number corresponding to their bill/balance on the right side of the book. After about 30 pages in shifts, a detailed account of what each patient was billed for and that accompanying cost tallied up to a total sum. For instance, some contents included “new suit clothes…5.2”, “mending clothes…6” and so on with the name of the service or good and its cost. Another example listed items such as tobacco and wine, but also services like shaving. These accounts are organized under the name of an individual patient on the top, the year and date on the left side of the page, and the right-hand side is the cost of each item with a total on the bottom left. 

As to the context, I picked this artifact because it is within some of the time frame of Brontë’s novel Jane Eyre that we have been discussing, which would have taken place within the narrative from around 1808-1820s and correlates to the period where Bertha might have been institutionalized. I also thought that the bills and accounts would provide detailed information on the living conditions within this psychiatric hospital from what they were being charged for. I feel this artifact can also speak to questions about what the conditions of other hospitals/mental institutions were like compared to this one, which seemed to have a very detailed and involved account of what was being billed. I also think we could look into who exactly was billed – was it from the money or account of the actual patient, or did they have guardianship status of other people such as family? I think this document would be important in discussions of Victorian class/social status and poverty concerning who had access to these institutions and what we can infer about the type of care corresponding to class. In the context of our novel, Rochester implies that the kind of institution he could have placed Bertha in was much worse than locking her in his own home with a personal attendant – knowing what we do about his wealth, how could this influence our discussion of this artifact and the type of care it implies.

Example #2: Retreat Archive 

The introduction to this archive discusses how pivotal and influential the role of The Retreat was in the development and care of the mentally ill in Victorian England and that their work soon became a study case for the “typical” type of institution and though it kept its high reputation it was also able to become a more standard middle/class institution (this maybe ties into my questions in the previous artifact). The introduction also mentions that the archive is usually very complete, with well-documented detailed accounts of administration, finances, staff, estate, and patient records. For my artifact under this archive collection, I chose the “Admission Papers” from April 12th, 1842, to June 22nd, 1849, which again is part of The Retreat Archive. This artifact looks to be a printed leaflet with information regarding the admissions of patients into their care, a very detailed list of 29 questions in the style of an intake form, and an official signed document to admit the patient. This questionnaire contains information such as name, age, place of birth, last residence, marital status, children, occupation (previous), and any connection to the institution. I thought it was interesting that there was a section on this idea of a family history of mental illness, and it made me wonder whether or not that was actually a part of medical findings at this point. There was also a section of the questionnaire that focused on the details of their illness, hoping to gain information on their early afflictions, literacy, education, disposition, changes in temperament, fits, violence, and if any prior medications or treatments were given. Again, at the end of each form was a signed document of “The Medical Certificate,” which was signed and dated for the patient’s admission. 

I think this artifact is important to discuss as, again, it is relevant to the time period of our current discussions surrounding Brontë’s writing, and I think it would be interesting to see what questions/information was needed to determine if someone was eligible to be admitted to an institution. This context makes me want to raise follow-up questions regarding what treatments and conditions these patients were in before this step of institutionalization was taken. Like in Jane Eyre, Rochester took notice of Bertha’s changes in attitude and behaviors, and much like this intake form suggests, he had an official diagnosis from a medical standpoint that found her to have a mental illness. It makes me wonder what was beneficial or how it became normalized to take these next steps medically – did this allow for more treatment other than institutions? I would consider this artifact important within the context of medical diagnosing in the Victorian era and the roles of guardianship and consent as we can start to question more within the artifact itself, such as who was filling out the forms on behalf of the patient, etc. The artifact can also raise our discussions to the context of class status again, as the information given would give us a glimpse into issues such as occupation, education levels, and marriage dictated heavily by social norms and class.

Anniversary Poem

october 

If anticipation was a song 
it would be you – your 
melody swept up in the floral 
curtains that mask my view 
of an outdoor not-so-dissimilar 
from your last coming
now opaque through the soft 
light of your day's end.
Your forecast is unknown
the year spreads before you
blind to the barren chill 
still fanning the flames 
that scorched your ground. 
Your sporadic pleasures 
you don’t seem to register 
hold my attention as I 
look out the window,
It is you – October – that I
hum along to.

CPB Entry #4 – 10/5/23

  • From the novel:

“What Janet! Are you an independent woman? A rich woman? “Quite rich, sir…”But as yiou are rich, Jane, you have now, no doubt, friends who will look after you, and not suffer you to devote youself to a blind lamenter like me?” “I told you I am independent, still, as well as rich: I am my own mistress.” “And you will sta with me?” “Certainly…”(Brontë 536).

Brontë, Charlotte. Jane Eyre. 1847. Oxford, Oxford University Press, 2019.
  • Critical Commentary:

“Theres, in examining Jane Eyre as Brontë’s rebellious commentary on the conventional marriage model as one that leaves wives in a powerless subject position, I both place the novel into a social context and explore the importance of doubles. In readings of Jane Eyre as Brontë’s critique of nineteenth-century marriage, one element of doubling that has been considered only tangeltially is that of remarriage. By placing the novel within the novel within the nineteenth-century social practice of doubling I argue that the gothic device of the doppelganger reveals the potentially powerless subject position of both first and second wife in that Brontë contstitues Jane as Bertha’s alter ego, rather than the other way around”

“Nicole A. Diederich, Gothic Doppelgangers and Discourse: Examining the Doubling Practice of (Re)Marriage in “Jane Eyre” • Issue 6.3 • Nineteenth-Century Gender Studies.” Www.ncgsjournal.com, www.ncgsjournal.com/issue63/diederich.html.
  • Historical Context:

“A woman of twenty-one becomes an independent human creature, capable of holding and administering property to any amount; or, if she can earn monet, she may appropriate her earnings freely to any purpose she thinks good…But if she unites herseld to a man, the law immediately steps in, and she finds herseld legislated for, and her condition of life suddenly and entirely changed. Whatever age she may be of, she is again considered an infant – she is again under ‘resonable restraint’ – she loses her seperate existence and is merged in that of her husband. “In short,” says Judge Hurlburt, “a woman is courted and wedded as an angel, and yet denied the dignity of a rational moral being ever after”. “

Smith, Barbara Leigh, and Boston Public Library. A Brief Summary in Plain Language of the Most Important Laws Concerning Women : Together with a Few Observations ThereonInternet Archive, London : Holyoake and Co., 1856, archive.org/details/briefsummaryinpl00smit/page/n5/mode/2up. Accessed 5 Dec. 2023.

Garrett, Edmund. “The Figure of Bertha Mason (1897).” Illustration of Bertha Mason, The British Library.

Two Free Poems

Wanting


The leaves fall about – telling of the 
passage of time
     eyes pierce out of the havoc
     – wanting to soak up all the 
     elements – utilize every sense
The feeling that comes – an unquenched 
     desire for these flickers of outside
     can never completely satisfy
Just then – the wind quiets, a breath
     – a moment of respite – 
     just as it returns in a gust ten-fold 
     in strength that breath – sucked away
Solace scrapped away from fingertips 
     the thrust is great – the spin is strong, 
     the ride continues
Stillness of the morning


Close your eyes
see the beauty that
surrounds that warms
Listen to the stillness
feel the strength of
the quiet
Look far – way out
to the horizon as
it changes its hue
There is so much beauty
here to feel
The sun, its power is immense 
capable of lifting the spirit 
enchanting the coldest soul 
warming it to a smile
Lie still here for just a moment, 
feel the warmth in your face
feel the wondrous life that if 
given the chance, can completely 
engulf you – surrender to this 
beauty.

Living in Metaphor—Ideas for Writing # 4 on p. 102

Blank slate

The counter looks at me – an 
icy-white canvas that’s coolness
penetrates my gaze. 
When the day ends 
lost and tired 
it is a blinding pyramid 
that beacons far and wide 
calling my attention blindingly. 
To tarnish so soon, to stain, 
smear, smudge, and splatter. 
It’s gaze asks where to go, what to 
do, its canvas waits to be created. 

Poem draft pg. 92

Vienna by Moonlight

Only less than twenty-four hours before, 
they filled the scene as celestial kin. 
The anxious train pulls into the station, 
hesitates with a humming thrill of tomorrow, 
aching as it trembles in the echos of its end, 
then, off again with a magnetism untouched. 
Wanderings in an evening, transient players 
posing as shooting stars – they were there last
night – though no marks were left, no stone etched 
littered by our desire to be remembered, daydream 
delusions, as quickly as the taste of honey pricks 
our tongue, ravaged by the inevitable break of day. 
Now, mists of seething stardust settle on the 
stone, yet know, the pull of dawn will remember 
that they were there that night. 

Exercise #1 (Graded)

I Care/Who Cares

What happens when the smile
of reassurance fades –
who cares
when the giver receives no
reciprocation.
What happens when there is
simply too much
too deep
too overrun.
What happens when the
warmth of my words
my actions
find their home
perfectly, I,
calloused and shivering.
What does that leave me?
Why should I care
peeling away
ripping out to
speak what I feel
toward you.
I don’t care,
who cares?

2QSQ #5 – 10/2/23

2QSQ #5 – 10:2:23

PART 1: PREPARING FOR DISCUSSION

SOURCE IDEAS:

“Do you think because I am poor, obscure, plain, and little, I am soulless and heartless? —You think wrong! — I have just as much soul as you, — and full as much heart! And if God had gifted me with some beauty, and much wealth, I should have made it as hard for you to leave me, as it is now for me to leave you. I am, not talking to you now through the medium of custom, conventionalities, nor even mortal flesh: it is my spirit that addresses your spirit; just as both had passed through the grave, and we stood at Gods feet, equal, — as we are!” (338).

“As regards the author’s chief object, however, it is a failure — that namely, of making a plain, odd woman, destitute of all the conventional features of feminine attraction, interesting in our sight. We deny that he has succeeded in this. Jane Eyre, in spite of some good things about her, is a being totally uncongenial to our feelings from beginning to end”.(592) — Rigby’s Quarterly Review, 1848.

SYNTHESIZING COMMENT/ANALYSIS:

With these two passages, I am thinking about how we might look into the public perception of Jane as both this beacon of feminist thinking of her time, full of questions and revolutionary thinking regarding social/class structures of England, and then this idea of her “unnatural” unearthly” connotations throughout the novel. This quote from chapter 23 is so poignant that I can’t pass it by without acknowledging it and just the sheer power it brings through the page. Not only is this an example of one of her moments where she truly speaks her mind, forgoing this ‘doctrine of endurance’ and is unashamedly bold, but think of the social conventions she alludes to that a poor, plain governess could speak in such a way to a wealthy, high-standing man. Looking at the argument Rigby makes in this review, they acknowledge how popular this book is — but immediately jump into naming all the reasons why it is dangerous. I am thinking of how this brings in our discussion of monster theory and the idea that there is such a lack of categorization implied within Jane and why these reviewers would feel she is just totally not relatable — shunned, so to speak, from the ‘conventional features of feminine attraction”. She is poor, an orphan, a woman — this is what is supposed to define her. Yet, she is the rightful inheritor of decent wealth, intelligent, and caught the attention of a conventionally superior man. She subverts so many of these boxes that gave the Victorian culture its order, and perhaps this could play into further discussion of Brontë’s choices to craft the novel in such a way where the interior of a person cannot fit in with this constructed society.

QUESTION:

Why do we think the public responded so greatly to Jane’s character and perhaps found these moments of rebellious thinking and redefining femininity so relatable, yet reviewers think her so unappealing? What might this say about this genre’s ability to generate a desire to live through this mysterious, thrilling, adventurous but not truly wishing to participate in its reality?

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