About Jane Eyre
Love versus Autonomy
Jane Eyre is very much the story of a quest to be loved. Jane searches, not just for romantic love, but also for a sense of being valued, of belonging. Thus Jane says to Helen Burns: “to gain some real affection from you, or Miss Temple, or any other whom I truly love, I would willingly submit to have the bone of my arm broken, or to let a bull toss me, or to stand behind a kicking horse, and let it dash its hoof at my chest” (Chapter 8). Yet, over the course of the book, Jane must learn how to gain love without sacrificing and harming herself in the process.
Her fear of losing her autonomy motivates her refusal of Rochester’s marriage proposal. Jane believes that “marrying” Rochester while he remains legally tied to Bertha would mean rendering herself a mistress and sacrificing her own integrity for the sake of emotional gratification. On the other hand, her life at Moor House tests her in the opposite manner. There, she enjoys economic independence and engages in worthwhile and useful work, teaching the poor; yet she lacks emotional sustenance. Although St. John proposes marriage, offering her a partnership built around a common purpose, Jane knows their marriage would remain loveless.
Nonetheless, the events of Jane’s stay at Moor House are necessary tests of Jane’s autonomy. Only after proving her self-sufficiency to herself can she marry Rochester and not be asymmetrically dependent upon him as her “master.” The marriage can be one between equals. As Jane says: “I am my husband’s life as fully as he is mine. . . . To be together is for us to be at once as free as in solitude, as gay as in company. . . . We are precisely suited in character—perfect concord is the result” (Chapter 38).
Motifs
Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.
Fire and Ice
Fire and ice appear throughout Jane Eyre. The former represents Jane’s passions, anger, and spirit, while the latter symbolizes the oppressive forces trying to extinguish Jane’s vitality. Fire is also a metaphor for Jane, as the narrative repeatedly associates her with images of fire, brightness, and warmth. In Chapter 4, she likens her mind to “a ridge of lighted heath, alive, glancing, devouring.” We can recognize Jane’s kindred spirits by their similar links to fire; thus we read of Rochester’s “flaming and flashing” eyes (Chapter 25). After he has been blinded, his face is compared to “a lamp quenched, waiting to be relit” (Chapter 37).
Images of ice and cold, often appearing in association with barren landscapes or seascapes, symbolize emotional desolation, loneliness, or even death. The “death-white realms” of the arctic that Bewick describes in his History of British Birds parallel Jane’s physical and spiritual isolation at Gateshead (Chapter 1). Lowood’s freezing temperatures—for example, the frozen pitchers of water that greet the girls each morning—mirror Jane’s sense of psychological exile. After the interrupted wedding to Rochester, Jane describes her state of mind: “A Christmas frost had come at mid-summer: a white December storm had whirled over June; ice glazed the ripe apples, drifts crushed the blowing roses; on hay-field and corn-field lay a frozen shroud . . . and the woods, which twelve hours since waved leafy and fragrant as groves between the tropics, now spread, waste, wild, and white as pine-forests in wintry Norway. My hopes were all dead. . . .” (Chapter 26). Finally, at Moor House, St. John’s frigidity and stiffness are established through comparisons with ice and cold rock. Jane writes: “By degrees, he acquired a certain influence over me that took away my liberty of mind. . . . I fell under a freezing spell”(Chapter 34). When St. John proposes marriage to Jane, she concludes that “s his curate, his comrade, all would be right. . . . But as his wife—at his side always, and always restrained, and always checked—forced to keep the fire of my nature continually low, to compel it to burn inwardly and never utter a cry, though the imprisoned flame consumed vital after vital—this would be unendurable” (Chapter 34).
Symbols
Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.
Bertha Mason
Bertha Mason is a complex presence in Jane Eyre. She impedes Jane’s happiness, but she also catalyses the growth of Jane’s self-understanding. The mystery surrounding Bertha establishes suspense and terror to the plot and the atmosphere. Further, Bertha serves as a remnant and reminder of Rochester’s youthful libertinism.
Yet Bertha can also be interpreted as a symbol. Some critics have read her as a statement about the way Britain feared and psychologically “locked away” the other cultures it encountered at the height of its imperialism. Others have seen her as a symbolic representation of the “trapped” Victorian wife, who is expected never to travel or work outside the house and becomes ever more frenzied as she finds no outlet for her frustration and anxiety. Within the story, then, Bertha’s insanity could serve as a warning to Jane of what complete surrender to Rochester could bring about.
One could also see Bertha as a manifestation of Jane’s subconscious feelings—specifically, of her rage against oppressive social and gender norms. Jane declares her love for Rochester, but she also secretly fears marriage to him and feels the need to rage against the imprisonment it could become for her. Jane never manifests this fear or anger, but Bertha does. Thus Bertha tears up the bridal veil, and it is Bertha’s existence that indeed stops the wedding from going forth. And, when Thornfield comes to represent a state of servitude and submission for Jane, Bertha burns it to the ground. Throughout the novel, Jane describes her inner spirit as fiery, her inner landscape as a “ridge of lighted heath” (Chapter 4). Bertha seems to be the outward manifestation of Jane’s interior fire. Bertha expresses the feelings that Jane must keep in check.
The Red-Room
The red-room can be viewed as a symbol of what Jane must overcome in her struggles to find freedom, happiness, and a sense of belonging. In the red-room, Jane’s position of exile and imprisonment first becomes clear. Although Jane is eventually freed from the room, she continues to be socially ostracized, financially trapped, and excluded from love; her sense of independence and her freedom of self-expression are constantly threatened.
The red-room’s importance as a symbol continues throughout the novel. It reappears as a memory whenever Jane makes a connection between her current situation and that first feeling of being ridiculed. Thus she recalls the room when she is humiliated at Lowood. She also thinks of the room on the night that she decides to leave Thornfield after Rochester has tried to convince her to become an undignified mistress. Her destitute condition upon her departure from Thornfield also threatens emotional and intellectual imprisonment, as does St. John’s marriage proposal. Only after Jane has asserted herself, gained financial independence, and found a spiritual family—which turns out to be her real family—can she wed Rochester and find freedom in and through marriage.

书虫之傲慢与偏见
Pride and Prejudice ", a novel a pleasure to behold, a beautiful and moving story.
The article describes a number of daughters Bo Nate story. Ji-an eldest daughter, gentle kind-hearted, beautiful Keren, Bentley and rich kids at first sight, but at the crucial moment has brought a twist. Second daughter, Elizabeth, Qingli intelligent, ambitious, assertive, consistent with the property of the nobility million youth met Darcy. Can be as arrogant Darcy eccentric, Elizabeth for his prejudice are serious, they love but refuse to recognize the obvious, but also continue to hurt each other with words, but fortunately dispelled the last mistake, married lovers.
Reading this novel, I have benefited greatly. In our people, there are many very modest, but there are some arrogant people. These arrogant people who sometimes annoying, they have eyes in the head long, others are dismissive. Indeed, the arrogance is a shortcoming in the environment to develop a character. Chinese children from an early age by their parents as holding掌上明珠typical "little emperors." If so has been from small to large养尊处优, how could it not arrogant? So I think that we should not be arrogant people who have prejudices, but the more soul-searching myself, to see if they have not arrogant, after their own things to learn to no longer allow parents to worry about, tired.
As the book said: "Heart of pride in everyone. As long as we have so a little bit of strength, they will feel especially great. But pride and vanity while the same meaning, but in real terms in different kinds of self-pride is a feeling, Vanity will need to involve other people overestimate their own, so people have a pride without vanity, which is justifiable.
可以适当删减~~~
翻译如下~~
《傲慢与偏见》，一部值得细细品味的小说，一个美丽动人的故事。
文中描述了柏纳特一家几个女儿的故事。大女儿姬安，温柔善良，美丽可人，与富家子弟宾利一见倾心，却在关键时刻发生了波折。二女儿伊丽莎白，聪慧清丽，有志气，有主见，与家产万贯的贵族青年达西相识。可因为达西高傲孤僻，伊丽莎白对他存有严重的偏见，两人明明相爱却不肯承认，还不断地用言语刺痛对方，幸好最后误会冰释，有情人终成眷属。
看了这本小说，我受益匪浅。在我们这些人中，有许多很谦虚，但也有一些傲慢的人。这些傲慢的人有时的确令人讨厌，他们把眼睛长在头上，对其他人都不屑一顾。的确，傲慢是一种缺点，一种在环境下养成的性格。我们中国的孩子，从小就被父母视为掌上明珠捧着，典型的“小皇帝”。要是从小到大一直这么养尊处优，怎么会不傲慢呢？因此，我觉得我们不应该对傲慢的人产生偏见，而是该多反省自己，看看自己有没有傲慢，以后自己的事也要学会自己做，不再让父母操心，劳累了。
正如书中所说：“骄傲之心人皆有之。只要我们拥有那么一点点长处，就会觉得自己特别了不起。但其中的骄傲和虚荣虽含义相同，却实质不同，骄傲是种自我感觉，虚荣则需要牵扯到别人高估自己，所以，一个人拥有不含虚荣心的骄傲，这也是无可非议的。”

（一）
两年前的金秋季节，您给我的那一丝微笑，那一句“相信自己，你能行”给了我的内心世界注入一股强大的推动力。我还能清楚地记得，那天，您第一次迎来了我们这一群稚气未脱的孩子，您那和蔼的笑容，我至今仍旧记忆犹新。永远忘不了，不敢忘也不愿忘，因为它是我定心的丸，是我生活的帆。
（二）
想要对您说一句“对不起”。可能您已忘了，但我忘不了。那个星期一，我作为旗手没穿校服就升上了红旗，而我并不觉得怎样，可您却因此训了我一顿。我很伤心，觉得您变了，变得不再关心我，不再相信我。痛，一直是痛，我忘不了，那像一根针扎入我心中的痛。因此，我与您“反目为敌”。
您用慧眼洞穿了我的内心世界，深情地对我说：“对不起，那天我心情不好，但你要记住无论何进何地都要尊敬红旗，爱护红旗。”“对不起”，您竟对我说对不起！恨，不敢再停留在我心中，而您那一句话却深深地烙在我心里，永远抹不去……
（三）
那个风清月圆的夜晚，伴随着你的问话，我也闻到了人世间最醇的酒香。永远忘不了那一句“假如你们全考上高中，我就算少活几年也心甘情愿。”这句您重复了五次的话，我们不敢忘记，更不会忘记。我想，不必去计较那是您喝酒高兴后说出来的糊涂话，还是您清醒后的一番肺腑之言。但我们明白，您说出的话的份量是何其沉重。我们也相信您会用生命去换得我们的美好前途。好想好想对您说：“老师，相信我们，我们能行！”
（四）
两年了，只有那天您笑得最开心。我知道我们使您劳累，使您不能绽放出您脸上的那朵花，想想真觉得愧疚，还记得那天吗？那个月亮上的小女孩，那56颗星，那漆黑的夜晚，我们献上的经过一番思考的自觉不错的礼物，因为那天是您结婚的前日。我们当然不会忘记您那甜甜的笑，在欢乐的歌声中，全班56个人与您相拥成一团，喜在脸上，乐在心里。看着您，我们笑得更开怀。
（五）
Time flies！光阴似箭，如今我们已初三了，当您再一次满怀深情地迎来了我们这群孩子，您一定觉得那一张张脸庞不再带着稚气。对，我们已经长大了，不再是那群爱哭爱笑的小女孩，也不再是那群爱打爱闹的小男孩。幼苗吸收着阳光雨露，加上劳动者的辛苦栽培，怎能不发芽滋长呢，您的教导，我们不曾偏离过，两年，我们在您的包容中长大，最后一年我想对您说：“老师，我们已经真正理解了‘自己的事情自己干’，您辛苦了，歇歇吧。”
学校门口“热烈庆祝第20个教师节”的大红横幅是那么显眼，心里为没有给您准备礼物而羞愧，但我知道“尊师不一定要送礼”。知心话儿对您诉说，满肚欢喜与您分享，再深情地加上一句 “老师好！”您大概就已经很满足了，因为您从未向我们奢求过给您什么。
那鼓振羽翼的风啊，您可知小鸟会飞翔在高高的蓝天，那深埋大地的根啊，您可知嫩叶会更加繁茂。哦，老师，请暂时停下您批改作业的笔尖，请暂时停下您匆匆家访的脚步，请暂时停下您认真备课的笔记，我想对您说：“您就是那风，您就是那根。”