the novel is rich in poetry, symbolism and metaphor. it does not fit easily into a definite pattern, being neither a novel of "manners" in the tradition of austen, or a straightforward gothic romance in the style of mrs radcliffe. what charlotte bronte did was to create a work which cleverly blends elements of the two styles, and which remains uniquely independent of them at the same time, since it addresses issues which were at the time rather controversial. the novel is written in the first person, and thus magnifies the central character - the reader enters the world of jane eyre and is transported through her experiences at first hand. this at once makes the work subjective, especially since we know that charlottes brontes own life and experiences were so closely interwoven with the heroine's. as well as this we learn only at the end of the novel that the events are being related to us ten years after the reconciliation with rochester - thus the narrative is retrospective (looking back). cb is clever in blending the narrative so that at times jane seems to be speaking as an adult with adult hindsight , while at others she she is "in the middle" of them, as a child or young woman. the indecision which is a central issue in the book, is heightened by this device. we never know, as readers, whether to be entirely trustful of janes actions and thoughts, because we are never sure wheher she is speaking impulsively or maturely. this intensifies the readers dilemma as to what is "right" and "wrong" in the dramatic relationships which are part of je's life. can we believe what the heroine says, or is she deceiving herself? the novel is primarily a love story and a "romance" where wishes come true but only after trials and suffering. the supernatural has its place, as do dreams, portents and prophesies. the heroine begins poor and lonely and ends up rich and loved; the orphan finds a good family to replace the wicked one; all the basic ingredients of classic romantic fairytale are present. the romantic element is present in two forms in jane eyre; the "family" aspect is dealt with in the gateshead, lowood and moor house episodes, which involve the exchanging of the wicked reed family for the benevolent rivers one; and the love romance is dealt with in the thornfield and ferndean episodes. both aspects are, of course linked and interwoven throughout the novel. there is also a strong element of realism in the novel, which, married to the romantic aspect, enhances the novel's strength.the sense of place is very strong; we are able to experience both exterior and interior settings with startling clarity throughout the story, in a series of vivid deive passages. the central characters are also realistic and their confrontations and sufferings change them in a believable way. even the unlikely is made plausible, with a unique blend of high drama and perceptive low comedy (the attack on mason, for instance) the more fantastic romantic aspects; the coincidences; the secrets; the supernatural occurrences, are balanced by the realism, and this is of course a major strength. the gothic influence cannot be ignored, although cb has refined the technique considerably from the "authentic" gothic of the 1790's. in the original genre, the heroine would typically be abducted and threatened with seduction, or worse!. there would be a lover - a respectable, well-bred young man - who would endeavor to rescue the heroine and would succeed after many trial. the seducer would be a brigand "know that i adore corsairs!" and he would lock the girl up in a remote castle. there was little freedom for middle class women during the period of the gothic novel, and this was still the case in the time of cb. marriage especially was often a bargain, whereby fortunes were secured by using the female as a pawn. a woman's value largely depended therefore on her sexual purity and she was guarded and secured as a result. men, on the contrary, were potent and free; lovers and mistresses were common. ironically the women who provided their services were social outcasts as a result. in jane eyre we see elements of the gothic romance, in that thornfield hall and rochester are described very much in the brigand/castle style but jane eyre is not abducted by r. on the contrary she chooses to go there of her own free will. and she is clear in her determination to have rochester as a husband. neither is there a gentleman rescuer; st john rivers may look like a greek god, but he is neither kind nor benevolent; driving jane back to ferndean, not rescuing her from it. the trials which the hero is supposed to undergo in a gothic romance are in fact undergone by the heroine in jane eyre. the bandit rochester is only skin-deep. underneath the brooding exterior is a sensitive soul, which a woman frees. in this way we see that cb created rather a daring departure from conventional fiction, although there are still many aspects of the novel which remain true to victorian convention.!

An Analysis of Jane Eyre
The novel is rich in poetry, symbolism and metaphor. It does not fit easily into a definite pattern, being neither a novel of "manners" in the tradition of Austen, or a straightforward Gothic Romance in the style of Mrs Radcliffe. What Charlotte Bronte did was to create a work which cleverly blends elements of the two styles, and which remains uniquely independent of them at the same time, since it addresses issues which were at the time rather controversial.
The novel is written in the first person, and thus magnifies the central character - the reader enters the world of Jane Eyre and is transported through her experiences at first hand. This at once makes the work subjective, especially since we know that Charlottes Brontes own life and experiences were so closely interwoven with the heroine's. As well as this we learn only at the end of the novel that the events are being related to us ten years after the reconciliation with Rochester - thus the narrative is RETROSPECTIVE (looking back). CB is clever in blending the narrative so that at times Jane seems to be speaking as an adult with adult hindsight , while at others she she is "in the middle" of them, as a child or young woman. The indecision which is a central issue in the book, is heightened by this device. We never know, as readers, whether to be entirely trustful of Janes actions and thoughts, because we are never sure wheher she is speaking impulsively or maturely.
This intensifies the readers dilemma as to what is "right" and "wrong" in the dramatic relationships which are part of JE's life. Can we believe what the heroine says, or is she deceiving herself? The novel is primarily a love story and a "romance" where wishes come true but only after trials and suffering. The supernatural has its place, as do dreams, portents and prophesies. The heroine begins poor and lonely and ends up rich and loved; the orphan finds a good family to replace the wicked one; all the basic ingredients of classic romantic fairytale are present.
The romantic element is present in two forms in Jane Eyre; the "family" aspect is dealt with in the Gateshead, Lowood and Moor House episodes, which involve the exchanging of the wicked Reed family for the benevolent Rivers one; and the Love romance is dealt with in the Thornfield and Ferndean episodes. Both aspects are, of course linked and interwoven throughout the novel.
There is also a strong element of realism in the novel, which, married to the romantic aspect, enhances the novel's strength.The sense of place is very strong; we are able to experience both exterior and interior settings with startling clarity throughout the story, in a series of vivid deive passages. The central characters are also realistic and their confrontations and sufferings change them in a believable way.
Even the unlikely is made plausible, with a unique blend of high drama and perceptive low comedy (the attack on Mason, for instance)
The more fantastic romantic aspects; the coincidences; the secrets; the supernatural occurrences, are balanced by the realism, and this is of course a major strength.
The Gothic influence cannot be ignored, although CB has refined the technique considerably from the "authentic" Gothic of the 1790's. In the original genre, the heroine would typically be abducted and threatened with seduction, or worse!. There would be a lover - a respectable, well-bred young man - who would endeavor to rescue the heroine and would succeed after many trial. the seducer would be a brigand "Know that I adore Corsairs!" and he would lock the girl up in a remote castle.
There was little freedom for middle class women during the period of the Gothic novel, and this was still the case in the time of CB. Marriage especially was often a bargain, whereby fortunes were secured by using the female as a pawn. A woman's value largely depended therefore on her sexual purity and she was guarded and secured as a result. Men, on the contrary, were potent and free; lovers and mistresses were common. Ironically the women who provided their services were social outcasts as a result.
In Jane Eyre we see elements of the Gothic romance, in that Thornfield Hall and Rochester are described very much in the brigand/castle style BUT Jane Eyre is not abducted by R. On the contrary she chooses to go there of her own free will. AND she is clear in her determination to have Rochester as a husband. Neither is there a gentleman rescuer; St John Rivers may look like a Greek God, but he is neither kind nor benevolent; driving Jane back to Ferndean, not rescuing her from it.
The trials which the hero is supposed to undergo in a Gothic romance are in fact undergone by the heroine in Jane Eyre. The bandit Rochester is only skin-deep. Underneath the brooding exterior is a sensitive soul, which a WOMAN frees. In this way we see that CB created rather a daring departure from conventional fiction, although there are still many aspects of the novel which remain true to Victorian convention.!
你可以自己再修改下哦!!!

Book review of [The piano]
我记得有本书叫钢琴之恋英文就是the piano

读后感
在读过一篇文章或一本书之后，把获得的感受、体会以及受到的教育、启迪等写下来，写成的文章就叫“读后感”。读后感的基本思路如下：
(1)简述原文有关内容。如所读书、文的篇名、作者、写作年代，以及原书或原文的内容概要。写这部分内容是为了交代感想从何而来，并为后文的议论作好铺垫。这部分一定要突出一个“简”字，决不能大段大段地叙述所读书、文的具体内容，而是要简述与感想有直接关系的部分，略去与感想无关的东西。
(2)亮明基本观点。选择感受最深的一点，用一个简洁的句子明确表述出来。这样的句子可称为“观点句”。这个观点句表述的，就是这篇文章的中心论点。“观点句”在文中的位置是可以灵活的，可以在篇首，也可以在篇末或篇中。初学写作的同学，最好采用开门见山的方法，把观点写在篇首。
(3)围绕基本观点摆事实讲道理。这部分就是议论文的本论部分，是对基本观点（即中心论点）的阐述，通过摆事实讲道理证明观点的正确性，使论点更加突出、更有说服力。这个过程应注意的是，所摆事实、所讲道理都必须紧紧围绕基本观点，为基本观点服务。
(4)围绕基本观点联系实际。一篇好的读后感应当有时代气息，有真情实感。要做到这一点，必须善于联系实际。这“实际”可以是个人的思想、言行、经历，也可以是某种社会现象。联系实际时也应当注意紧紧围绕基本观点，为观点服务，而不能盲目联系、前后脱节。以上四点是写读后感的基本思路，但是这思路不是一成不变的，要善于灵活掌握。比如，“简述原文”一般在“亮明观点”前，但二者先后次序互换也是可以的。再者，如果在第三个步骤摆事实讲道理时所摆的事实就是社会现象或个人经历，就不必再写第四个部分了。写读后感应注意以下问题：
一是要重视“读”在“读”与“感”的关系中，“读”是“感”的前提、基础；“感”是“读”
的延伸或者说结果。必须先“读”而后“感”，不“读”则无“感”。因此，要写读后感首先要读懂原文，要准确把握原文的基本内容，正确理解原文的中心思想和关键语句的含义，深入体会作者的写作目的和文中表达的思想感情。
二是要准确选择感受点读完一本书或一篇文章，会有许多感想和体会；对同样一本书或一篇文章，不同的人从不同的角度思考问题，更是会产生不同的看法、受到不同的启迪。以大家熟知的“滥竽充数”成语故事为例，从讽刺南郭先生的角度去思考，可以领悟到没有真本领蒙混过日子的人早晚要“露馅”，认识到掌握真才实学的重要性；若是考虑在齐宣王时南郭先生能混下去的原因，就可以想到领导者要有实事求是的领导作风，不能搞华而不实，否则会给混水摸鱼的人留下空子可钻；再要从管理体制的角度去思考，就可进一步认识到齐宣王的“大锅饭”缺少必要的考评机制，为南郭先生一类的人提供了饱食终日混日子的客观条件，从而联想到改革开放以来,打破“铁饭碗”，废除大锅饭的必要性。一篇读后感，不能写出诸多的感想或体会，这就要加以选择。作为初学者，就要选择自己感受最深又觉得有话可说的一点来写。要注意把握分析问题的角度，注意联系自己的实际情况，从众多的头绪中选择最恰当的感受点，作为全文议论的中心。
Is having the mood which a little has doubts, today watched this very classical movie finally. Actually through the synopsis, knew that content a little” strange “, what wants to look originally was "Piano Teacher" actually has no intention to hit the mark this movie, but the present looks like, was truly very good! Inside watches the movie, in the brain playbacks these moving piano musics unceasingly, the inside music truly very can move the will of the people, even if the leading lady had not said from beginning to end a dialog, but the inside piano music truly spread her aspiration! Without the dialog, perhaps only then music, can arouse audience's sympathy, causes the infinite daydream! This movie to the leading lady, the performing skill aspect test is not truly small, but I am very satisfied. The Houley Hunt's eye truly will speak! The complete movie, her performance is very steady, the role is very complete! Actually goes into seriously, this role's innermost feelings are very complex, under the tranquil semblance is covering like sea general profound, broad. As for male and female lead between that section “??”Love, please forgive me not to know truly how should describe. All have the piano to start, a key trades a desire, the rare actor wants to result in comes out (to be actually screenwriter), liked depth of the qin leading lady complying unexpectedly. The desire infinite expansion, moved the leading lady finally in the final time, love of the piano started from this. What a pity the high tide partially crosses is too too quickly hurried. Finally, the affection can help, the piano crashes into the sea, all had “newborn”. This is one tranquil and not the tranquil movie, a thought-provoking movie.
带着有点疑惑的心情，今天终于看了这部十分经典的电影。 其实通过简介，知道内容有点”离奇“，原本想看的是《钢琴教师》却无意点中了这部电影，但现在看来，确实很不错！ 看完影片，脑子里不断回放里面那些动人的钢琴曲，里面的音乐确实很能打动人心，即使女主角从头到尾没有说过一句对白，但里面的钢琴曲确实传出了她的心声！没有对白，只有音乐，或许更能引起观众的共鸣，引起无限的遐想! 这部电影对女主角来说，演技方面的考验确实不小，但我个人挺满意的。霍利•亨特的眼睛确实很会说话！全部电影，她的表演很稳，角色很完整！其实深究，这个角色的内心是十分复杂的，平静的外表下掩盖着的如大海一般深邃，广阔。 至于男女主角间那段“？？”的爱情，请原谅我确实不知道该怎样形容。一切有钢琴开始，一个琴键换一个欲望，难得男主角想得出来（其实应该是编剧），爱琴之深的女主角竟然答应了.欲望无限扩大，在最后时刻终于打动了女主角，钢琴之恋由此开始。可惜高潮部分过得太快太匆忙。最后，恋情得以成全，钢琴坠入大海，一切都有了“新生”。 这是一部平静而又不平静的电影，一部令人深思的电影。