shǒuyè>> >> 外国经典>> xià luò · lǎng Charlotte Bronte   yīng guó United Kingdom   hàn nuò wēi wáng cháo   (1816niánsìyuè21rì1855niánsānyuè31rì)
jiǎn · ài Jane Eyre
  《 jiǎn · àishì yīng guó shí jiǔ shì zhù míng de zuò jiā xià luò · lǎng de dài biǎo zuòrén men biàn rèn wéijiǎn · àishì xià luò · lǎng shī de shēng píng de xiě zhàoshì yòu zìzhuàn cǎi de zuò pǐnxià luò · lǎng ài · lǎng ān · lǎng lǎng níng rén gòu chéng shí dài yīng guó zuì gāo róng de wán měi de sān wèi
  
  《 jiǎn · àishì dài yòu zìzhuàn cǎi de cháng piān xiǎo shuō chǎn shì liǎo zhè yàng zhù rén de jià zhí zūn yán ài。《 jiǎn · àigāng chū bǎn shí , zuò zhě xià luò lǎng yòng de míng shì bèi 'ěr zhì zhī hòu de jiě mèi men chū de shū bèi rèn wèishì xiě dehǎo zài zhī hòu qīn zàijiǎn · àizài bǎn shí chéng qīng shì shí
  
  《 jiǎn · àide zuò zhě xià luò · lǎng xiào shān zhuāngde zuò zhě 'ài shì jiě mèisuī rán liǎng rén shēng huó zài tóng shè huìjiā tíng huán jìng zhōngxìng què xiāng tóngxià luò . lǎng xiǎn gèng jiā de wēn róugèng jiā de qīng chúngèng jiā de huān zhuī qiú xiē měi hǎo de dōng jìn guǎn jiā jìng pín qióngcóng xiǎo shī liǎo 'ài 'ài hěn shǎozài jiā shàng shēn cái 'ǎi xiǎoróng mào měidàn jiù shì zhè yàng zhǒng líng hún shēn chù de hěn shēn de bēifǎn yìng zài de xìng shàng jiù shì zhǒng fēi cháng mǐn gǎn de zūn zūn zuò wéi nèi xīn shēn chù de bēi de cháng miáo xiě de jiǎnài shì měi deǎi xiǎo de réndàn shì yòu zhe qiáng liè de zūn xīn jiān dìng zhuī qiú zhǒng guāng míng deshèng jié deměi hǎo de shēng huó
  《 jiǎn · ài》 - shì gěng gài
  
   jiǎn · ài de qīn shì qióng shīdāng hái zài yòu nián shí jiù rǎn bìng shuāng shuāng shìjiǎn · ài bèi sòng dào gài hǎi zhuāng yuán de jiù tài tài jiā yǎng xiān shēng lín qián céng zhǔ hǎohǎo zhào jiǎn · àijiǎn · ài zài tài tài jiā de wèilián shǐ dōubù shòu jìn liǎo biǎo xiōng biǎo mèi de tiān biǎo xiōng yòu liǎo huí shǒu fǎn kàngquè bèi jiù guān jìn hóng fáng de jiù jiù xiān shēng jiù zài zhè jiān bèi huàn xiǎng zhōng de guǐ hún xià hūn liǎo guò zhòng bìng yīchángguò liǎo hěn jiǔ cái màn màn huī jiàn kāng
  
   zài xiǎng dāi zài tài tài jiā liǎo tài tài jiù sòng jìn luó 'ér yuàn 'ér yuàn yuàn cháng shì lěng de wěi jūn yòng zhǒng zhǒng bàn cóng jīng shén ròu shàng cuī cán 'érjiǎn 'ér hǎi lún jié chéng hǎo yǒujiào shī tán 'ěr xiǎo jiě hěn guān xīn zài 'ér yuàn yīcháng chuán rǎn xìng de shāng hánduó zǒu liǎo duō jiàng 'ér de shēng mìnghǎi lún jiù zài zhè chǎng shāng hán zhōng zhè duì jiǎn · ài hěn
  
   jiǎn hòu liú xiào dāng liǎo liǎng nián jiào shī shòu liǎo de lěng dēng guǎng gào zhǎo dào liǎo jiā tíng jiào shī de gōng zuò shì lái dào liǎo sāng fèi 'ěr zhuāng yuánzài sāng fèi 'ěr zhuāng yuán zhǐ yòu zhuāng yuán zhù luó chè de shēng 'ā dài 'ěr · lún ér luó chè jīng cháng dào guó wài xíngsuǒ jiǎn dào sāng fèi 'ěr hǎo tiān méi jiàn dào luó chè
  
   tiān huáng hūnjiǎn wài chū sàn jīng liǎo gāng gāng cóng wài miàn huí lái de luó chè de luó chè cóng shàng shuāi liǎo xià láijiǎn máng shàng qián huí dào jiā hòu jiǎn cái zhī dào biàn shì zhuāng yuán zhù luó chè luó chè shì xìng yīn 'ér yòu cháng de rén jiǎn jīng cháng wéi mǒu zhǒng xiǎng xīn biàn lùn xiū
  
   zài sāng fèi 'ěr zhuāng yuán duàn shēng guài de shì qíngyòu tiān jiǎn bèi zhèn guài de xiào shēng jīng xǐng xiàn luó chè de fáng mén kāi zhechuáng shàng zhe liǎo huǒ jiào xǐng luó chè bìng miè huǒluó chè gào jiǎn sān lóu zhù zhe zāi féng léi · 'ěr shén jīng cuò luànshí cháng chū lìng rén máo sǒng rán de kuáng xiào shēngbìng yào duì shì yán shǒu
  
   luó chè jīng cháng cān jiā huì tiān rén qǐng dào jiā lái wánrén mendōu wéi zài zhè chǎng huì shàng luó chè huì xiàng lán xiǎo jiě qiú hūnzài yàn huì shàng luó chè jiān chí yào jiǎn dào tīng rén men duì jiǎn de tài shí fēn qīng mànluó chè què yāo qǐng jiǎn tiào jiǎn gǎn jué dào duì luó chè shēng gǎn qíng
  
   tiānluó chè wài chūjiā lái liǎo méng zhe gài tóu de sài réndāng lún dào gěi jiǎn suàn mìng shíjiǎn xiàn zhè shén de sài rén jiù shì luó chè xiǎng jiè shì tàn jiǎn duì de gǎn qíngzhè shí zhuāng yuán yòu lái liǎo míng méi sēn de shēng réndāng wǎn bèi sān lóu de shén rén yǎo shāng liǎojiǎn bāng luó chè sòng zǒu
  
   jiǔ tài tài pài rén lái zhǎo jiǎnshuō bìng wēi yào jiàn jiǎn miànhuí dào jiù jiā zhōng tài tài gěi fēng xìnzhè fēng xìn shì sān nián qián jiǎn de shū lái dexiàng tīng zhí de xiāo bìng de chǎn jiāo gěi jiǎn tài tài huǎng chēng jiǎn zài 'ér yuàn bìng liǎozhí dào lín zhōng qián cái liáng xīn xiàn zhēn xiāng gào jiǎn
  
   jiǎn yòu huí dào sāng fèi 'ěr zhuāng yuán gǎn jué xiàng huí dào jiā yànghuí lái hòuluó chè xiàng wèi hūnjiǎn dāyìng liǎobìng gāo xīng zhǔn bèi hūn hūn qián jiǎn cóng mèng zhōng jīng xǐngkàn dào shēn cái gāo miàn zēng de rén zhèng zài dài de hūn shārán hòu hūn shā chéng suì piànluó chè gào guò shì mèng 'èr tiān dāng jiǎn xǐng lái shí xiàn hūn shā zhēn de chéng liǎo suì piàn
  
   hūn xíng wèi zhī chuǎng jìn liǎo jiào tángshēng chēng hūn néng jìn xíng shuō luó chè 15 nián qián méi sēn xiān shēng de mèi mèi suō · méi sēn wéi luó chè chéng rèn liǎo zhè shì shíbìng lǐng rén men kàn bèi guān zài sān lóu de fēng rén jiù shì de yòu chuán xìng jīng shén bìng shǐjiù shì zài luó chè de fáng jiān fàng huǒ shì suì jiǎn de hūn shā
  
   jiǎn bēi tòng jué kāi liǎo sāng fèi 'ěr zhuāng yuán de jǐn yòu de huā guāng liǎoyán tǎozuì hòu yūndǎo zài shī shèng yuē hàn jiā mén qiánbèi shèng yuē hàn de liǎng mèi mèi jiù liǎojiǎn zhù liǎo xià láishèng yuē hàn wéi móu liǎo xiāng cūn jiào shī de zhí wèi
  
   jiǔshèng yuē hàn jiē dào jiā tíng shī de tōng zhīshuō de jiù jiù yuē hàn jiǎn shì liǎoliú gěi jiǎn 'èr wàn yīng bàngyào shèng yuē hàn bāng zhù xún zhǎo jiǎnshèng yuē hàn xiàn jiǎn shì de biǎo mèijiǎn zhí yào men fēn xiǎng chǎnshèng yuē hàn zhǔn bèi yìn chuán jiàolín xíng qián xiàng jiǎn qiú hūndàn tǎn shuài gào yào bìng shì yīn wéi 'ài ér shì yào hěn yòu jiào yǎng de zhù shǒujiǎn jué yīnggāi bào de 'ēn qíngdàn chí chí kěn dāyìng dāng shèng yuē hàn zài huāng yuán shàng děng dài jiǎn de jiù zài jiǎn yào zuò chū jué dìng de shí hòu fǎng tīng dào luó chè zài yáo yuǎn de fāng hǎn de míng jiǎnhuí lái jiǎnhuí lái !” jué dìng huí dào luó chè shēn biān
  
   dāng jiǎn huí dào sāng fèi 'ěr zhuāng yuán shízhěng zhuāng yuán biàn chéng piàn fèi yuán lái yuè qiánzài fēng jiāo jiā de wǎnfēng rén suō fàng huǒ shāo huǐ liǎo zhěng zhuāng yuánluó chè wèile jiù bèi shāo xiā liǎo shuāng yǎn shēng huó zài yīng wài de nóng chǎng jiǎn gǎn dào jiā chǎngxiàng de 'ài qíng men zhōng jié hūn liǎoliǎng nián zhī hòuzhì hǎo liǎo luó chè de zhǐ yǎn jīng kàn dào liǎo jiǎn wèitā shēng de hái
  《 jiǎn · ài》 - xiǎo shuō píng jià
  
  《 jiǎn · àishì běn yòu duō nián shǐ de wén xué zhù zuòzhì jīn 152 nián de shǐ liǎo chéng gōng zào liǎo yīng guó wén xué shǐ zhōng duì 'ài qíngshēng huóshè huì zōng jiào cǎi liǎo zhù de jìn tài gǎn dǒu zhēnggǎn zhēng yóu píng děng wèi de xìng xíng xiàng
  
  《 jiǎn · àishì dài yòu zhuǎn cǎi de cháng piān xiǎo shuōshì yīng guó shí jiǔ shì zhù míng sān jiě mèi zuò jiā zhī de xià luò · lǎng suǒ zhùzhè shì běn yòng de xīn qiáng liè de jīng shén zhuī qiú zhù liàn chéng de běn shūhán zhe zuò zhě xiàn de qíng gǎn xìng mèi wéi xìng yíng liǎo piàn càn làn de tiān kōng
  
   jiǎn . ài shēng cún zài shuāng wáng rén xià de huán jìngcóng xiǎo jiù chéng shòu zhe tóng líng rén yàng de dài de xián biǎo jiě de miè shìbiǎo de zhè shì duì hái de zūn yán de qíng jiàn rán 'ér xìng yùn de shì zài de xué xiào de shēng huó zhōngjiǎn · ài dào liǎo 'ài de péng yǒuhǎi lún · péng , hǎi lún wēn shùncōng yíng kuān róng de xìng zhí yǐng xiǎng zhe jiǎn . àishǐ zhī hòu miàn duì zhǒng zhǒng kùn nán dōubù zài bào yuàndǒng liǎo 'ài zhōng chéng
  
   zài luó qiē de miàn qián , cóng yīn wéi shì wèi jiàn de jiā tíng jiào shī 'ér gǎn dào bēifǎn 'ér rèn wéi men shì píng děng de yìng gāi yīn wéi shì rénér néng shòu dào bié rén de zūn zhòng zhèng yīn wéi de zhèng zhígāo shàngchún jiéxīn líng méi yòu shòu dào shì shè huì de rǎnshǐ luó qiē wéi zhī zhèn hànbìng kàn zuò liǎo zài jīng shén shàng píng děng jiāo tán de rénbìng qiě màn màn shēn shēn 'ài shàng liǎo zhè shì jiǎn · ài gào luó qiē kāi de yóudàn shì cóng nèi xīn jiǎnggēngshēn céng de dōng shì jiǎn · ài shí dào shòu dào liǎo piàn de zūn xīn shòu dào liǎo nòngyīn wéi shēn 'ài zhe luó qiē , shì wèn rén néng gòu chéng shòu zhù bèi zuì xìn rènzuì qīn de rén suǒ piàn ? zhè yàng zhǒng fēi cháng qiáng de 'ài qíng liàng bāo wéi zhī xiàzài měi hǎo de shēng huó yòu huò zhī xià rán yào jiān chí zuò wéi rén de zūn yánzhè shì jiǎn · ài zuì yòu jīng shén mèi de fāng
  
   xiǎo shuō shè liǎo hěn guāng míng de jié wěi suī rán luó qiē de zhuāng yuán huǐ liǎo chéng liǎo cán fèidàn men kàn dàozhèng shì zhè yàng tiáo jiànshǐ jiǎn · ài zài zài zūn yán 'ài zhī jiān máo dùnér tóng shí huò mǎn -- zài luó qiē jié hūn de shí hòu shì yòu zūn yán detóng shí shì yòu 'ài derèn wén xué zuò pǐn dōushì zuò zhě yàn shēng huó de jié jīngcóng shū zhōng duō shǎo kàn chū zuò zhě de yǐng 。《 jiǎn · ài shì liàng de jié zài zuò zhě de shēng huó zhōng dào yìn zhèngdāng ránjiǎn · àibìng shì běn zìzhuànzuò zhě zhǐ shì fēng de shēng huó jīng róng jìn liǎo chōng mǎn xiǎng xiàng de wén zhāng rén men zhī dàojiǎn · àishì zuò zhě shēng huó zhōng de xiě zhàodàn yòu yòu duō shǎo rén zhī dào zuò zhě shì zài zěn yàng de qíng kuàng xià xiě xiàjiǎn · àide
  
   xiǎo shuō gào menrén de zuì měi hǎo de shēng huó shì rén de zūn yán jiā 'àixiǎo shuō de jié gěi zhù rén gōng 'ān pái de jiù shì zhè yàng zhǒng shēng huósuī rán jué zhè yàng de jié guò wán měishèn zhì zhè zhǒng yuán mǎn běn shēn biāo zhì zhe qiǎndàn shì rán zūn zhòng zuò zhě duì zhè zhǒng měi hǎo shēng huó de xiǎng-- jiù shì zūn yán jiā 'ài jìng zài dāng jīn shè huìyào jiāng rén de jià zhízūn yánài zhè dào gōng shì zhī shí xiàn cháng cháng kāi jīn qián de bāng zhùrén mendōu fēng kuáng wèile jīn qián wèi 'ér yānmò 'ài qíngzài qióng zhī jiān xuǎn zài 'ài 'ài zhī jiān xuǎn 'àihěn shǎo yòu rén huì xiàng jiǎn zhè yàng wéi 'ài qíng wéi rén pāo suǒ yòuér qiě fǎn 。《 jiǎn · àisuǒ zhǎn xiàn gěi men de zhèng shì zhǒng huà fán wéi jiǎnshì zhǒng fǎn guī zhēnshì zhǒng zhuī qiú quán xīn chū de gǎn juéshì zhǒng shī de jiǎn huà de gǎn qíng yóu bēi bīng shuǐjìng huà měi zhě de xīn língtóng shí yǐn zhě bié shì xìng zhě de gòng míng


  Jane Eyre (pronounced /ˌdʒeɪn ˈɛər/) is a famous and influential novel by English writer Charlotte Brontë. It was published in London, England in 1847 by Smith, Elder & Co. with the title Jane Eyre. An Autobiography under the pen name "Currer Bell". The American edition came out the following year published by Harper & Brothers of New York.
  
  Plot introduction
  
  Jane Eyre is a first-person narrative of the title character. The novel goes through five distinct stages: Jane's childhood at Gateshead, where she is emotionally and physically abused by her aunt and cousins; her education at Lowood School, where she acquires friends and role models but also suffers privations; her time as the governess of Thornfield Hall, where she falls in love with her Byronic employer, Edward Rochester; her time with the Rivers family at Marsh's End (or Moor House) and Morton, where her cold clergyman-cousin St John Rivers proposes to her; and her reunion with and marriage to her beloved Rochester. Partly autobiographical, the novel abounds with social criticism. It is a novel considered ahead of its time. In spite of the dark, brooding elements, it has a strong sense of right and wrong, of morality at its core.
  
  Jane Eyre is divided into 38 chapters and most editions are at least 400 pages long (although the preface and introduction on certain copies are liable to take up another 100). The original was published in three volumes, comprising chapters 1 to 15, 16 to 26, and 27 to 38.
  
  Brontë dedicated the novel's second edition to William Makepeace Thackeray.
  Plot summary
  Chapters 1-4: Jane's childhood at Gateshead
  Young Jane argues with her guardian Mrs. Reed of Gateshead. Illustration by F. H. Townsend.
  
  A ten-year-old orphan named Jane Eyre lives with her uncle's family, the Reeds. Jane's aunt, Sarah Reed, dislikes her intensely. When her uncle dies, her aunt and the three Reed children become abusive. When bullied by her cousin John, Jane retaliates but is punished for the ensuing fight and is locked in the room where Mr. Reed died. As night falls, Jane's panicked screams rouse the house, but Mrs. Reed won't let her out. Jane faints and Mr. Lloyd, an apothecary, is summoned. He talks with Jane and sympathetically suggests that she should go away to school.
  Chapters 5-10: Jane's education at Lowood School
  
  Mrs. Reed sends Jane to Lowood Institution, a charity school, and warns them that Jane is deceitful. During an inspection, Jane accidentally breaks her slate, and Mr. Brocklehurst, the self-righteous clergyman who runs the school, brands her as a liar and shames her before the entire assembly.
  
  Jane is comforted by her friend, Helen Burns. Miss Temple, a caring teacher, facilitates Jane's self-defense and writes to Mr. Lloyd whose reply agrees with Jane's. Ultimately, Jane is publicly cleared of Mr. Brocklehurst's accusations.
  Jane tries to catch Mr. Rochester's horse.
  
  While the Brocklehurst family lives in luxury, the eighty pupils are subjected to cold rooms, poor meals, and thin clothing. Many students fall ill when a typhus epidemic strikes. Jane's friend Helen dies of consumption in Jane's arms.
  
  When Mr. Brocklehurst's neglect and dishonesty are laid bare, several benefactors erect a new building and conditions at the school improve dramatically.
  Chapters 11-26: Jane's time as governess at Thornfield Hall
  
  Eight years later, Jane is a teacher employed by Alice Fairfax (the housekeeper of Thornfield Hall) as governess for Adèle Varens, a young French girl. Out walking one day, Jane encounters and helps a horseman who has sprained his ankle. On her return to Thornfield, she discovers that the horseman is Edward Rochester, Master of Thornfield Hall. Rochester is a moody, self-willed man nearly twenty years older than Jane. Adèle is his ward, belonging to a French "opera dancer" with whom he had a romantic relationship in the past. Adèle, however, is not his daughter, but is brought up by him after her mother abandons her.
  
  Jane saves Mr. Rochester from a fire.
  
  
  Miss Blanche Ingram looking in a book.
  
  
  Mr. Rochester disguised as a Gypsy woman.
  
  
  Bertha Mason rips Jane's wedding veil.
  
  Mr. Rochester seems quite taken with Jane, and she enjoys his company. However, odd things begin to happen: a strange laugh is heard in the halls, a near-fatal fire mysteriously breaks out, and a guest named Mason is attacked.
  
  Jane receives word that Mrs. Reed has suffered a stroke and is asking for her. Returning to Gateshead, she remains for over a month while her aunt lies dying. Mrs. Reed rejects Jane's efforts at reconciliation, but does give her a letter previously withheld out of spite. The letter is from John Eyre, Jane's uncle, notifying her that he wanted her to live with him in Madeira.
  
  After returning to Thornfield, Jane broods over Rochester's impending marriage to Blanche Ingram. But on a midsummer evening, he proclaims his love for Jane and proposes. As she prepares for her wedding, Jane's forebodings arise when a strange, savage-looking woman sneaks into her room one night and rips her wedding veil in two. As with previous mysterious events, Mr Rochester attributes the incident to drunkenness on the part of Grace Poole, one of his servants.
  
  During the wedding ceremony, Mr. Mason and a lawyer declare that Mr. Rochester cannot marry because he is already married to Mr. Mason's sister. Mr. Rochester bitterly admits the truth, explaining that his wife is a violent madwoman whom he keeps locked in the attic, in the care of Grace Poole. When Grace occasionally drinks too much, it gives his wife a chance to escape, and she is the true cause of Thornfield's strange events.
  
  Mr. Rochester asks Jane to go with him to the south of France, and live as husband and wife, even though they cannot be married. Refusing to go against her principles, and despite her love for him, Jane leaves Thornfield in the middle of the night.
  Chapters 27-35: Jane's time with the Rivers family
  
  Jane leaves Thornfield and sleeps outside.
  
  
  Jane begs for food.
  
  
  St. John Rivers admits Jane to Moor House.
  
  Jane travels to the north of England. After mislaying her funds, she sleeps on the moor and begs for food, but is turned away as a beggar, a thief, or worse. Exhausted, she is saved by St. John Rivers, a young clergyman, who brings her to the home of his sisters, Diana and Mary. As she regains her health, St. John finds her a teaching position at a nearby charity school. Jane becomes warm friends with Mary and Diana, but St. John is too reserved for her to relate to, despite his efforts on her behalf. Jane sees that the brother and sisters have money-related worries, but does not enquire further.
  
  Rosamond Oliver shows an interest in St. John.
  
  
  St. John tells Jane she has inherited £20,000.
  
  
  Jane considering St. John's proposal.
  
  When the sisters leave for governess jobs in London, St. John becomes more comfortable around Jane, evidencing his own conflicts of the heart, which involve the beautiful and wealthy Rosamond Oliver. When Jane confronts him about his feelings for Miss Oliver, he confesses that he has turned away from them, because he feels called to be a missionary, and he knows that Miss Oliver would not accept such a life.
  
  St. John discovers Jane's true identity, and astounds her by showing her a letter stating that her uncle John has died and left her his entire fortune of £20,000, equivalent to £1,560,000 in today's pounds. When Jane questions him further, St. John reveals that John is also his and his sisters' uncle. They had once hoped for a share of the inheritance, but have since resigned themselves to nothing. Jane, overjoyed by finding her family, insists on sharing the money equally with her cousins.
  
  St. John asks Jane to accompany him to India as his wife. He asks solely because he wishes a good missionary's wife, a role in which he believes Jane will excel. She agrees to go, but refuses marriage, believing his reserve and reason incompatible with her warmth and passion. But, his powers of persuasion eventually begin to convince her to change her mind.
  
  However, at that very moment, she suddenly seems to hear Mr. Rochester calling her name. The next morning, she leaves for Thornfield to ascertain Mr. Rochester's well-being before departing forever for India.
  Chapters 36-38: Jane's reunion with Mr. Rochester
  
  Thornfield burned to the ground by Bertha.
  
  
  Jane and Mr. Rochester reunited.
  
  
  Mr. Rochester's sight improving.
  
  Jane arrives at Thornfield to find only blackened ruins. She learns that Rochester's wife set the house on fire and committed suicide by jumping from the roof. In his rescue attempts, Mr. Rochester lost a hand and his eyesight. Jane reunites with him, but he fears that she will be repulsed by his condition. When Jane assures him of her love and tells him that she will never leave him, Mr. Rochester again proposes. He eventually recovers enough sight to see their first-born son.
  Characters
  
   * Jane Eyre: The protagonist of the novel and the title character. Orphaned as a baby, she struggles through her nearly loveless childhood and becomes governess at Thornfield Hall. Although she falls in love with her wealthy employer, Edward Rochester, her strong sense of conscience does not permit her to become his mistress, and she does not return to him until his insane wife is dead and she herself has come into an inheritance.
   * Mr. Reed: Jane's maternal uncle, who adopts Jane when her parents die. Before his own death, he makes his wife promise to care for Jane.
   * Mrs. Sarah Reed: Jane's aunt by marriage, who adopts Jane but neglects and abuses her. Her dislike of Jane continues to her death.
   * John Reed: Jane's cousin, who bullies Jane constantly, sometimes in his mother's presence. He ruins himself as an adult and is believed to die by suicide.
   * Eliza Reed: Jane's cousin. Bitter because she is not as attractive as her sister, she devotes herself self-righteously to religion.
   * Georgiana Reed: Jane's cousin. Though spiteful and insolent, she is also beautiful and indulged. Her sister Eliza foils her marriage to a wealthy Lord.
   * Bessie Lee: The plain-spoken nursemaid at Gateshead. She sometimes treats Jane kindly, telling her stories and singing her songs. Later she marries Robert Leaven.
   * Robert Leaven: The coachman at Gateshead, who brings Jane the news of John Reed's death, which brought on Mrs. Reed's stroke.
   * Mr. Lloyd: A compassionate apothecary who recommends that Jane be sent to school. Later, he writes a letter to Miss Temple confirming Jane's account of her childhood and thereby clearing Jane of Mrs. Reed's charge of lying.
   * Mr. Brocklehurst: The clergyman headmaster and treasurer of Lowood School, whose mistreatment of the students is eventually exposed.
   * Miss Maria Temple: The kind superintendent of Lowood School, who treats Jane and Helen (and others) with respect and compassion. She helps clear Jane of Mr. Brocklehurst's false accusation of deceit.
   * Miss Scatcherd: A sour and vicious teacher at Lowood.
   * Helen Burns: A fellow-student and best friend of Jane's at Lowood School. She refuses to hate those who abuse her, trusting in God and turning the other cheek. She dies of consumption in Jane's arms. Some speculate that the book's author based Helen Burns on her elder sister Maria Brontë , who showed signs of dyspraxia.
   * Edward Fairfax Rochester: The master of Thornfield Manor. A Byronic hero, he makes an unfortunate first marriage before he meets Jane.
   * Bertha Antoinetta Mason: The violently insane first wife of Edward Rochester.
   * Adèle Varens: An excitable French child to whom Jane is governess at Thornfield. She is Mr Rochester's ward and possibly his daughter. However Mr. Rochester denies this because her mother had been seeing another man behind his back.
   * Mrs. Alice Fairfax: An elderly widow and housekeeper of Thornfield Manor. She treats Jane kindly and respectfully, but disapproves of her engagement to Mr Rochester.
   * Blanche Ingram: A socialite whom Mr. Rochester appears to court in order to make Jane jealous. She is described as having great beauty, but displays callous behaviour and avaricious intent.
   * Richard Mason: An Englishman from the West Indies, whose sister is Mr. Rochester's first wife. His appearance at Thornfield heralds the eventual revelation of Bertha Mason.
   * Grace Poole: Bertha Mason's keeper. Jane is told that it is Grace Poole who causes the mysterious things to happen at Thornfield Hall.
   * St. John Eyre Rivers: A clergyman who befriends Jane and turns out to be her cousin. He is Jane Eyre's cousin on her father's side. He is a devout Christian of Calvinistic leanings. By nature he is very reserved and single-minded.
   * Diana and Mary Rivers: St. John's sisters and (as it turns out) Jane's cousins.
   * Rosamond Oliver: A wealthy young woman who patronizes the village school where Jane teaches, and who is attracted to the Rev. St. John.
   * John Eyre: Jane's paternal uncle, who leaves her his vast fortune. He never appears as a character.
  
  Themes
  
  Morality
  
  Jane refuses to become Mr Rochester's paramour because of her "impassioned self-respect and moral conviction." She rejects St. John Rivers' Puritanism as much as the libertine aspects of Mr Rochester's character. Instead, she works out a morality expressed in love, independence, and forgiveness.
  Religion
  
  Throughout the novel, Jane endeavours to attain an equilibrium between moral duty and earthly happiness. She despises the hypocritical puritanism of Mr. Brocklehurst, and rejects St. John Rivers' cold devotion to his Christian duty, but neither can she bring herself to emulate Helen Burns' turning the other cheek, although she admires Helen for it. Ultimately, she rejects these three extremes and finds a middle ground in which religion serves to curb her immoderate passions but does not repress her true self.
  Social class
  
  Jane's ambiguous social position—a penniless yet moderately educated orphan from a good family—leads her to criticise discrimination based on class. Although she is educated, well-mannered, and relatively sophisticated, she is still a governess, a paid servant of low social standing, and therefore powerless. Nevertheless, Brontë possesses certain class prejudices herself, as is made clear when Jane has to remind herself that her unsophisticated village pupils at Morton "are of flesh and blood as good as the scions of gentlest genealogy."
  Gender relations
  
  A particularly important theme in the novel is the depiction of a patriarchal society. Jane attempts to assert her own identity within male-dominated society. Three of the main male characters, Brocklehurst, Mr Rochester and St. John, try to keep Jane in a subordinate position and prevent her from expressing her own thoughts and feelings. Jane escapes Brocklehurst and rejects St. John, and she only marries Mr Rochester once she is sure that their marriage is one between equals. Through Jane, Brontë opposes Victorian stereotypes about women, articulating her own feminist philosophy:
  
  
   Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do; they suffer from too rigid a restraint, too absolute a stagnation, precisely as men would suffer; and it is narrow-minded in their more privileged fellow-creatures to say that they ought to confine themselves to making puddings and knitting stockings, to playing on the piano and embroidering bags. It is thoughtless to condemn them, or laugh at them, if they seek to do more or learn more than custom has pronounced necessary for their sex. (Chapter XII)
  
  Love and Passion
  
  One of the secrets to the success of Jane Eyre lies in the way that it touches on a number of important themes while telling a compelling story. Indeed, so lively and dramatic is the story that the reader might not be fully conscious of all the thematic strands that weave through this work. Critics have argued about what comprises the main theme of Jane Eyre. There can be little doubt, however, that love and passion together form a major thematic element of the novel.
  
  On its most simple and obvious level, Jane Eyre is a love story. The love between the orphaned and initially impoverished Jane and the wealthy but tormented Rochester is at its heart. The obstacles to the fulfillment of this love provide the main dramatic conflict in the work. However, the novel explores other types of love as well. Helen Burns, for example, exemplifies the selfless love of a friend. We also see some of the consequences of the absence of love, as in the relationship between Jane and Mrs. Reed, in the selfish relations among the Reed children, and in the mocking marriage of Rochester and Bertha. Jane realizes that the absence of love between herself and St. John Rivers would make their marriage a living death, too.
  
  Throughout the work, Brontë suggests that a life that is not lived passionately is not lived fully. Jane undoubtedly is the central passionate character; her nature is shot through with passion. Early on, she refuses to live by Mrs. Reed's rules, which would restrict all passion. Her defiance of Mrs. Reed is her first, but by no means her last, passionate act. Her passion for Rochester is all consuming. Significantly, however, it is not the only force that governs her life. She leaves Rochester because her moral reason tells her that it would be wrong to live with him as his mistress: "Laws and principles are not for the time when there is no temptation," she tells Rochester; "they are for such moments as this, when body and soul rise against their rigor."
  
  Blanche Ingram feels no passion for Rochester; she is only attracted to the landowner because of his wealth and social position. St. John Rivers is a more intelligent character than Blanche, but like her he also lacks the necessary passion that would allow him to live fully. His marriage proposal to Jane has no passion behind it; rather, he regards marriage as a business arrangement, with Jane as his potential junior partner in his missionary work. His lack of passion contrasts sharply with Rochester, who positively seethes with passion. His injury in the fire at Thornfield may be seen as a chastisement for his past passionate indiscretions and as a symbolic taming of his passionate excesses.
  Independence
  
  Jane Eyre is not only a love story; it is also a plea for the recognition of the individual's worth. Throughout the book, Jane demands to be treated as an independent human being, a person with her own needs and talents. Early on, she is unjustly punished, precisely for being herself — first by Mrs. Reed and John Reed, and subsequently by Mr. Brocklehurst. Her defiance of Mrs. Reed is her first active declaration of independence in the novel, but not her last. Helen Burns and Miss Temple are the first characters to acknowledge her as an individual; they love her for herself, in spite of her obscurity. Rochester too loves her for herself; the fact that she is a governess and therefore his servant does not negatively affect his perception of her. Rochester confesses that his ideal woman is intellectual, faithful, and loving — qualities that Jane embodies. Rochester's acceptance of Jane as an independent person is contrasted by Blanche and Lady Ingram's attitude toward her: they see her merely as a servant. Lady Ingram speaks disparagingly of Jane in front of her face as though Jane isn't there. To her, Jane is an inferior barely worthy of notice, and certainly not worthy of respect. And even though she is his cousin, St. John Rivers does not regard Jane as a full, independent person. Rather, he sees her as an instrument, an accessory that would help him to further his own plans. Jane acknowledges that his cause (missionary work) may be worthy, but she knows that to marry simply for the sake of expedience would be a fatal mistake. Her marriage to Mr. Rochester, by contrast, is the marriage of two independent beings. It is because of their independence, Brontë suggests, that they acknowledge their dependence on each other and are able to live happily ever after.
  God and Religion
  
  In her preface to the second edition of Jane Eyre, Brontë made clear her belief that "conventionality is not morality" and "self-righteousness is not religion." She declared that "narrow human doctrines, that only tend to elate and magnify a few, should not be substituted for the world-redeeming creed of Christ." Throughout the novel, Brontë presents contrasts between characters who believe in and practice what she considers a true Christianity and those who pervert religion to further their own ends. Mr. Brocklehurst, who oversees Lowood Institution, is a hypocritical Christian. He professes charity but uses religion as a justification for punishment. For example, he cites the biblical passage "man shall not live by bread alone" to rebuke Miss Temple for having fed the girls an extra meal to compensate for their inedible breakfast of burnt porridge. He tells Miss Temple that she "may indeed feed their vile bodies, but you little think how you starve their immortal souls!" Helen Burns is a complete contrast to Brocklehurst; she follows the Christian creed of turning the other cheek and loving those who hate her. On her deathbed, Helen tells Jane that she is "going home to God, who loves her."
  
  Jane herself cannot quite profess Helen's absolute, selfless faith. Jane does not seem to follow a particular doctrine, but she is sincerely religious in a nondoctrinaire way. (It is Jane, after all, who places the stone with the word "Resurgam" on Helen's grave, some fifteen years after her friend's death.) Jane frequently prays and calls on God to assist her, particularly in her trouble with Rochester. She prays too that Rochester is safe. When the Rivers's housekeeper, Hannah, tries to turn the begging Jane away, Jane tells her that "if you are a Christian, you ought not consider poverty a crime." The young evangelical clergyman St. John Rivers is a more conventionally religious figure. However, Brontë portrays his religious aspect ambiguously. Jane calls him "a very good man," yet she finds him cold and forbidding. In his determination to do good deeds (in the form of missionary work in India), Rivers courts martyrdom. Moreover, he is unable to see Jane as a whole person, but views her as a helpmate in his proposed missionary work. Rochester is far less a perfect Christian. He is, indeed, a sinner: He attempts to enter into a bigamous marriage with Jane and, when that fails, tries to persuade her to become his mistress. He also confesses that he has had three previous mistresses. In the end, however, he repents his sinfulness, thanks God for returning Jane to him, and begs God to give him the strength to lead a purer life.
  
  Atonement and Forgiveness
  
  Much of the religious concern in Jane Eyre has to do with atonement and forgiveness. Rochester is tormented by his awareness of his past sins and misdeeds. He frequently confesses that he has led a life of vice, and many of his actions in the course of the novel are less than commendable. Readers may accuse him of behaving sadistically in deceiving Jane about the nature of his relationship (or rather, non-relationship) with Blanche Ingram in order to provoke Jane's jealousy. His confinement of Bertha may bespeak mixed motives. He is certainly aware that in the eyes of both religious and civil authorities, his marriage to Jane before Bertha's death would be bigamous. Yet, at the same time, he makes genuine efforts to atone for his behavior. For example, although he does not believe that he is Adèle's natural father, he adopts her as his ward and sees that she is well cared for. This adoption may well be an act of atonement for the sins he has committed. He expresses his self-disgust at having tried to console himself by having three different mistresses during his travels in Europe and begs Jane to forgive him for these past transgressions. However, Rochester can only atone completely — and be forgiven completely — after Jane has refused to be his mistress and left him. The destruction of Thornfield by fire finally removes the stain of his past sins; the loss of his right hand and of his eyesight is the price he must pay to atone completely for his sins. Only after this purgation can he be redeemed by Jane's love.
  
  Search for Home and Family
  
  Without any living family that she is aware of (until well into the story), throughout the course of the novel Jane searches for a place that she can call home. Significantly, houses play a prominent part in the story. (In keeping with a long English tradition, all the houses in the book have names.) The novel's opening finds Jane living at Gateshead Hall, but this is hardly a home. Mrs. Reed and her children refuse to acknowledge her as a relation, treating her instead as an unwanted intruder and an inferior.
  
  Shunted off to Lowood Institution, a boarding school for orphans and destitute children, Jane finds a home of sorts, although her place here is ambiguous and temporary. The school's manager, Mr. Brocklehurst, treats it more as a business than as school in loco parentis (in place of the parent). His emphasis on discipline and on spartan conditions at the expense of the girls' health make it the antithesis of the ideal home.
  
  Jane subsequently believes she has found a home at Thornfield Hall. Anticipating the worst when she arrives, she is relieved when she is made to feel welcome by Mrs. Fairfax. She feels genuine affection for Adèle (who in a way is also an orphan) and is happy to serve as her governess. As her love for Rochester grows, she believes that she has found her ideal husband in spite of his eccentric manner and that they will make a home together at Thornfield. The revelation — as they are literally on the verge of marriage — that he is already legally married — brings her dream of home crashing down. Fleeing Thornfield, she literally becomes homeless and is reduced to begging for food and shelter. The opportunity of having a home presents itself when she enters Moor House, where the Rivers sisters and their brother, the Reverend St. John Rivers, are mourning the death of their father. (When the housekeeper at first shuts the door in her face, Jane has a dreadful feeling that "that anchor of home was gone.") She soon speaks of Diana and Mary Rivers as her own sisters, and is overjoyed when she learns that they are indeed her cousins. She tells St. John Rivers that learning that she has living relations is far more important than inheriting twenty thousand pounds. (She mourns the uncle she never knew. Earlier she was disheartened on learning that Mrs. Reed told her uncle that Jane had died and sent him away.) However, St. John Rivers' offer of marriage cannot sever her emotional attachment to Rochester. In an almost visionary episode, she hears Rochester's voice calling her to return to him. The last chapter begins with the famous simple declarative sentence, "Reader, I married him," and after a long series of travails Jane's search for home and family ends in a union with her ideal mate.
  Context
  
  The early sequences, in which Jane is sent to Lowood, a harsh boarding school, are derived from the author's own experiences. Helen Burns's death from tuberculosis (referred to as consumption) recalls the deaths of Charlotte Brontë's sisters Elizabeth and Maria, who died of the disease in childhood as a result of the conditions at their school, the Clergy Daughters School at Cowan Bridge, near Tunstall, Lancashire. Mr. Brocklehurst is based on Rev. William Carus Wilson (1791–1859), the Evangelical minister who ran the school, and Helen Burns is likely modelled on Charlotte's sister Maria. Additionally, John Reed's decline into alcoholism and dissolution recalls the life of Charlotte's brother Branwell, who became an opium and alcohol addict in the years preceding his death. Finally, like Jane, Charlotte becomes a governess. These facts were revealed to the public in The Life of Charlotte Brontë (1857) by Charlotte's friend and fellow novelist Elizabeth Gaskell.
  
  The Gothic manor of Thornfield was probably inspired by North Lees Hall, near Hathersage in the Peak District. This was visited by Charlotte Brontë and her friend Ellen Nussey in the summer of 1845 and is described by the latter in a letter dated 22 July 1845. It was the residence of the Eyre family, and its first owner, Agnes Ashurst, was reputedly confined as a lunatic in a padded second floor room.
  Literary motifs and allusions
  
  Jane Eyre uses many motifs from Gothic fiction, such as the Gothic manor (Thornfield), the Byronic hero (Mr Rochester and Jane herself) and The Madwoman in the Attic (Bertha), whom Jane perceives as resembling "the foul German spectre—the Vampyre" (Chapter XXV) and who attacks her own brother in a distinctly vampiric way: "She sucked the blood: she said she'd drain my heart" (Chapter XX). Also, besides gothicism, Jane Eyre displays romanticism to create a unique Victorian novel.
  
  Literary allusions from the Bible, fairy tales, The Pilgrim's Progress, Paradise Lost, and the novels and poetry of Sir Walter Scott are also much in evidence. The novel deliberately avoids some conventions of Victorian fiction, not contriving a deathbed reconciliation between Aunt Reed and Jane Eyre and avoiding the portrayal of a "fallen woman".
  Adaptations
  Mr. Reed torments young Jane Eyre in Suffolk Youth Theatre's 2008 production of Jane Eyre.
  
  Jane Eyre has engendered numerous adaptations and related works inspired by the novel. The best known are the 1944 version starring Orson Welles as Rochester and Joan Fontaine as Jane, the BBC television adaptation with Timothy Dalton as Rochester and Zelah Clarke as Jane, and the 1996 version directed by Franco Zeffirelli with William Hurt as Rochester and Charlotte Gainsbourg as Jane.
  Radio show versions
  
   * 1943: Extremely loose adaptation (primarily chapters 11–26) on The Weird Circle, premiering on 11 November.
  
  Silent film versions
  
   * Several silent film adaptations entitled Jane Eyre were released; one in 1910, two in 1914, plus:
   * 1915: Jane Eyre starring Louise Vale.
   * 1915: A version was released called The Castle of Thornfield.
   * 1918: A version was released called Woman and Wife, directed by Edward José, adapted by Paul West, starring Alice Brady as Jane.
   * 1921: Jane Eyre starring Mabel Ballin and directed by Hugo Ballin.
   * 1926: A version was made in Germany called Orphan of Lowood.
  
  Motion picture versions
  
   * 1934: Jane Eyre, starring Colin Clive and Virginia Bruce.
   * 1940: Rebecca, directed by Alfred Hitchcock and based upon the novel of the same name which was influenced by Jane Eyre. Joan Fontaine, who starred in this film, would also be cast in the 1944 version of Jane Eyre to reinforce the connection.
   * 1943: I Walked with a Zombie is a horror movie loosely based upon Jane Eyre.
   * 1944: Jane Eyre, with a screenplay by John Houseman and Aldous Huxley. It features Orson Welles as Mr Rochester, Joan Fontaine as Jane, Agnes Moorehead as Mrs. Reed, Margaret O'Brien as Adele and Elizabeth Taylor as Helen Burns.
   * 1956: A version was made in Hong Kong called The Orphan Girl.
   * 1963: A version was released in Mexico called El Secreto (English: "The Secret").
   * 1970: Jane Eyre, starring George C. Scott as Mr Rochester and Susannah York as Jane.
   * 1972: An Indian adaptation in Telugu, Shanti Nilayam, directed by C. Vaikuntarama Sastry, starring Anjali Devi.
   * 1978: A version was released in Mexico called Ardiente Secreto (English: "Ardent Secret").
   * 1996: Jane Eyre, directed by Franco Zeffirelli and starring William Hurt as Mr Rochester, Charlotte Gainsbourg as Jane, Elle Macpherson as Blanche Ingram, Joan Plowright as Mrs. Fairfax, Anna Paquin as the young Jane, Fiona Shaw as Mrs. Reed and Geraldine Chaplin as Miss Scatcherd.
   * 2006: Jane Eyre, Directed by Susanna White, starring Toby Stephens as Mr Rochester and Ruth Wilson as Jane Eyre.
   * 2011: Jane Eyre, directed by Cary Fukunaga, starring Mia Wasikowska as Jane Eyre and Michael Fassbender as Rochester.
  
  Musical versions
  
   * A two-act ballet of Jane Eyre was created for the first time by the London Children's Ballet in 1994, with an original score by composer Julia Gomelskaya and choreography by Polyanna Buckingham. The run was a sell-out success.
   * A musical version with a book by John Caird and music and lyrics by Paul Gordon, with Marla Schaffel as Jane and James Stacy Barbour as Mr Rochester, opened at the Brooks Atkinson Theatre on 10 December 2000. It closed on 10 June 2001.
   * Jane Eyre, opera in three acts, Op. 134 was composed by John Joubert in 1987–1997 to a libretto by Kenneth Birkin after the novel.
   * An opera based on the novel was written in 2000 by English composer Michael Berkeley, with a libretto by David Malouf. It was given its premiere by Music Theatre Wales at the Cheltenham Festival.
   * Jane Eyre was played for the first time in Europe in Beveren, Belgium. It was given its premiere at the cultural centre.
   * The ballet "Jane," based on the book was created in 2007, a Bullard/Tye production with music by Max Reger. Its world premiere was scheduled at the Civic Auditorium, Kalamazoo, Michigan, June 29 and 30, performed by the Kalamazoo Ballet Company, Therese Bullard, Director.
   * A musical production directed by Debby Race, book by Jana Smith and Wayne R. Scott, with a musical score by Jana Smith and Brad Roseborough, premiered in 2008 at the Lifehouse Theatre in Redlands, California
   * A symphony (7th) by Michel Bosc premiered in Bandol (France), 11 October 2009.
  
  Television versions
  
   * 1952: This was a live television production presented by "Westinghouse Studio One (Summer Theatre)".
   * Adaptations appeared on British and American television in 1956 and 1961.
   * 1963:Jane Eyre. It was produced by the BBC and starred Richard Leech as Mr Rochester and Ann Bell as Jane.
   * 1973: Jane Eyre. It was produced by the BBC and starred Sorcha Cusack as Jane, Michael Jayston as Mr Rochester, Juliet Waley as the child Jane, and Tina Heath as Helen Burns.
   * 1978: Telenovela El Ardiente Secreto (English The impassioned secret) was an adaptation of this novel.
   * 1982: BBC Classics Presents: Jane Eyrehead. A parody movie by SCTV starred Andrea Martin as Jane Eyrehead, Joe Flaherty as Mr Rochester, also starting John Candy, Eugene Levy, and Martin Short in supporting roles.
   * 1983: Jane Eyre. It was produced by the BBC and starred Zelah Clarke as Jane, Timothy Dalton as Mr Rochester, Sian Pattenden as the child Jane, and Colette Barker as Helen Burns.
   * 1997: Jane Eyre. It was produced by the A&E Network and starred Ciaran Hinds as Mr Rochester and Samantha Morton as Jane.
   * 2006: Jane Eyre. It was produced by the BBC and starred Toby Stephens as Mr Rochester, Ruth Wilson as Jane, and Georgie Henley as Young Jane.
  
  Literature
  
   * 1938: Rebecca by Daphne du Maurier was partially inspired by Jane Eyre.
   * 1961: The Ivy Tree by Mary Stewart adapts many of the motifs of Jane Eyre to 1950s northern England. The main character, Annabel, falls in love with her older neighbor who is married to a mentally ill woman. Like Jane, Annabel runs away to try to get over her love. The novel begins when she returns from her eight-year exile.
   * 1966: Wide Sargasso Sea by Jean Rhys. The character Bertha Mason serves as the main protagonist for this novel which acts as a "prequel" to Jane Eyre. It describes the meeting and marriage of Antoinette (later renamed Bertha by Mr Rochester) and Mr Rochester. In its reshaping of events related to Jane Eyre, the novel suggests that Bertha's madness is the result of Mr Rochester's rejection of her and her Creole heritage. It was also adapted into film twice.
   * 1997: Mrs Rochester: A Sequel to Jane Eyre by Hilary Bailey
   * 2000: Adele: Jane Eyre's Hidden Story by Emma Tennant
   * 2000: Jane Rochester by Kimberly A. Bennett, content explores the first years of the Rochesters' marriage with gothic and explicit content. A fan favorite.
   * 2001 novel The Eyre Affair by Jasper Fforde revolves around the plot of Jane Eyre. It portrays the book as originally largely free of literary contrivance: Jane and Mr Rochester's first meeting is a simple conversation without the dramatic horse accident, and Jane does not hear his voice calling for her and ends up starting a new life in India. The protagonist's efforts mostly accidentally change it to the real version.
   * 2002: Jenna Starborn by Sharon Shinn, a science fiction novel based upon Jane Eyre
   * 2006: The French Dancer's Bastard: The Story of Adele From Jane Eyre by Emma Tennant. This is a slightly modified version of Tennant's 2000 novel.
   * 2007: Thornfield Hall: Jane Eyre's Hidden Story by Emma Tennant. This is another version of Jane Eyre.
   * 2010: Rochester: A Novel Inspired by Jane Eyre by J.L. Niemann. Jane Eyre told from the first person-perspective of Edward Rochester.
   * The novelist Angela Carter was working on a sequel to Jane Eyre at the time of her death in 1992. This was to have been the story of Jane's stepdaughter Adèle Varens and her mother Céline. Only a synopsis survives.
zhāng
   tiānchū sàn shì néng liǎo shízǎo shàng men hái zài guāng de guàn lín zhōng liù liǎo xiǎo shídàn cóng fàn shí zào fǎng shí tài tài hěn zǎo jiù yòng fànbiàn guā liǎo dōng lǐn liè de hán fēngsuí hòu yīn yún pāng tuóshì wài de huó dòng jiù zhǐ néng zuò liǎo
   dǎo shì qiú zhī xiàng lái huān yuǎn sàn yóu zài lěng sōu sōu de xià shì xiǎngyīn lěng de shí fēn huí jiā láishǒu jiǎo dòng jiāng liǎohái yào shòu dào bǎo bèi yīn de shǔluòyòu jué suōyuē hàn qiáo zhì xīn nán guò yòu cán kuì qíng xíng wěi shí
   shí gāng cái dào de suōyuē hàn qiáo zhì dōuzài tīng yōng zhe men de xié zài biān de shā shàngshēn bàng zuò zhe de xiǎo bǎo bèi menyǎn xià wèi zhēng chǎo wèi jiào), 'ān xiǎng tiān lún zhī de shén tàiér 'ēn zhǔn tóng men zuò zài liǎoshuō shì hěn hàn ràng 'ér zài bàng dāi zheyào shì méi yòu qīn 'ěr cóng bèi qiàn 'ér tīng dàobìng qiě qīn yǎn kàn dào què shí zài jìn yǎng chéng zhǒng jiào dān chún suí de xìnghuó 'ài de zhǐ jiù shì gèng kāi lǎnggèng shuài zhígèng rán xiē dàngzhēn ràng xiǎng shòu xiē zhǐ pèijǐ kuài zhī de hái men de quán liǎo
  “ bèi yīn shuō gān liǎo shénme ?” wèn
  “ jiǎn huān chuī máo qiú huò zhě páogēn jiū de réngèng kuàng xiǎo hái jiā zhè me gēn rén dǐng zuǐ shí zài ràng rén tǎo yànzhǎo fāng zuò zhe huì shuō huà jiù bié zhāng zuǐ。”
   tīng de shì jiān xiǎo xiǎo de cān shì liù liǎo jìn miàn yòu shū jià huì 'ér cóng shàng miàn xià běn shū lái tiǎo chā duō de shàng chuāng táisuō shuāng jiǎoxiàng 'ěr rén yàng pán tuǐ zuò xiàjiāng hóng de wén chuāng lián jīhū wán quán lǒng jiā bèi yǐn liǎo lái
   zài yòu fēi hóng chuāng màn de zhòu dàng zhù liǎo de shì xiànzuǒ míng liàng de chuāng zhe shǐ miǎn shòu shí yuè yīn chén tiān de qīn hàiyòu wài miàn de shì jiè juézài fān shū de jiànxì tái tóu kàn dōng xià de jǐng zhǐ jiàn yuǎn fāng bái máng máng piàn yún jìn chù shī kuài cǎo shòu fēng de guàn zhèn chí jiǔ 'ér de kuáng fēng gǎn zhe zhù de bào héng kōng guī guò
   zhòng yòu tóu kàn shū shì běn yóu deyīng guó niǎo lèi shǐ》。 wén fèn bān gǎn xīng dàn yòu dǎo yánsuī shuō shì hái què yuàn dāng zuò kōng suí shǒu fān guònèi zhōng xiě dào liǎo hǎi niǎo shēng zhī xiě dào liǎo zhǐ yòu hǎi niǎo de líng líng de yán shí hǎi jiǎ”; xiě dào liǎo nán duān lín huò zhì běi jiǎo biàn xiǎo dǎo de nuó wēi hǎi 'àn
   běi bīng yáng xiān de xuán páo xiào zài guāng liáng yuē xiǎo dǎo zhōuér yáng de xiōng yǒng tāoxiè liǎo kuáng bào de qún dǎo
   hái yòu xiē fāng néng kàn kàn fān 'ér guò jiù shì shū zhōng dào de lán bēi 'ěr gēn qún dǎoxīn dǎobīng dǎo líng lán huāng liáng de hǎi 'àn。“ guǎng mào yín de běi dài xiē yīn de máo zhī wǎn ruò bīng xuě de chǔ cún qiān wàn hán dōng suǒ chéng de jiān bīngxiàng 'ā 'ěr bēi shān de céng céng gāo fēngguāng huá jīng yíngbāo wéi zhe zēng de yán hán huì chù。” duì zhè xiē bái de yòu dìng zhī jiàndàn shí nán zhuō fǎng hái men mǒu xiē dǒng fēi dǒng de niàn tóuméng méng lóng lóng xiàn zài nǎo què chū shēng dòngdǎo yán zhōng de zhè wén hòu miàn de chā xiāng pèishǐ tāo zhōng de yán qiǎn zài huāng liáng hǎi 'àn shàng de chuán tòu guò yún dài shì zhe chén chuán de yōu yōu yuè guānggèng jiā hán juàn yǒng liǎo
   shuō qīng zhǒng shénme yàng de qíng diào màn zài de yòu míng wén de bēi shàn ménliǎng shù de píng xiàn bài de wéi qiáng wān chū shēng de xīn yuèbiǎo míng shí hòu zhèng shì huáng hūn
   liǎng sōu lún chuán tíng zài shuǐ xīng de hǎi miàn shàng wéi men shì hǎi shàng de guǐ guài
   guǐ cóng shēn hòu 'àn zhù qiè zéi de bēibāo múyàng shí zài gǎn jǐn fān liǎo guò
   yàng de shì tóu shàng cháng jiǎo de hēi guài yán shí zhī shàngyuǎn tiào zhe qún rén wéi zhe jiǎo jià
   měi huà dōushì shìyóu jiě xīn shǎng shuǐ píng yòu xiàn men wǎng wǎng xiǎn shén dàn wèi 'àng ránjiù xiàng mǒu xiē dōng bèi qiàn pèng qiǎo xīn qíng cuò shí jiǎng shù de shì yàng dào zhè zhǒng shí hòubèi yīn huì tàng zhuō bān dào bǎo shì de bàng biānràng men wéi zhe zuò hǎo miàn yùn tài tài de wǎng yǎn shì biān shuì mào de biān yán tàng chū jiǎn lái miàn ràng men dài qīng tīng duàn duàn 'ài qíng mào xiǎn shìzhè xiē piàn duàn lǎo de shén huà chuán shuō gèng lǎo de yáohuò zhě hòu lái suǒ xiànlái měi lán jué hēng 》。
   dāng shí tóu tān zhe yóu de shūxīn dezhì shǎo shì jiù bié rén lái rǎodàn rǎo lái hěn kuàicān shì de mén kāi liǎo
  “ shī nǎo xiǎo jiě!” yuē hàn · jiào huàn zhesuí hòu yòu zhù liǎoxiǎn rán jué fáng jiān kōng rén
  “ jiàn guǐshàng 'ér liǎo ?” jiē zhe shuō。“ qiànqiáo !”( hǎn zhe de jiě mèi)“ qióng zài zhè 'ér gào cuàn dào liǎozhè huài chù shēng!”
  “ xìng kuī hǎo liǎo chuāng lián,” xiǎng zhēn wàng xiàn liǎo de cáng shēn zhī yuē hàn · shì xiàn liǎo de yǎn jīng jiāntóu nǎo líng suō cóng mén wài tàn jìn tóu láijiù shuō
  “ zài chuāng tái shàngzhǔn méi cuòjié 。”
   zǒu liǎo chū láiyīn wéi xiǎng dào yào bèi zhè jié yìng tuō chū shēn biàn zhí duō suo
   shénme shì ?” wèn gān yòu 'ān
  “ gāi shuōshénme shì shàoyebiàn shì dào de huí 。“ yào dào zhè lái,” zài shǒu shàng zuò xià liǎo shǒu shìshì zǒu guò zhàn dào miàn qián
   yuē hàn · shì shí suì de xiǎo xué shēng suìyīn wéi cái shí suìlùn nián líng cháng yòu yòu pàngdàn huī 'àn bìng tàiliǎn pán kuò guān zhī féishǒu péng hái huān bào yǐn bào shíluò gān huǒ hěn wàng guāng chí dùnliǎng jiá sōng chízhè zhèn běn gāi dāi zài xué xiào shì lǐng liǎo huí láizhù shàng héngliǎng yuèshuō shì yīn wéishēn ruò”。 dàn lǎo shī mài 'ěr xiān shēng què duàn yányào shì jiā shǎo sòng xiē gāo diǎn táng guǒ huì shénme dōuhěn hǎo dezuò qīn de xīn què tǎo yàn zhè me de huàér qīng xiàng zhǒng gèng suí de xiǎng rèn wéi yuē hàn shì guò yòng gōnghuò hái yīn wéi xiǎng jiācái nòng me miàn huáng de
   yuē hàn duì qīn jiě mèi men méi yòu duō shǎo gǎn qíngér duì hěn yàn 'è shì zhōu sān liǎng shì tiān liǎng huíér shì jīng cháng nòng měi gēn shén jīng zǒu yùn shēn shàng de měi kuài ròu huì shōu suō láiyòu shí huì bèi xià shǒu cuòyīn wéi miàn duì de kǒnghè chù yōng rén men yuàn zhàn zài biān zuì men de shàoyeér tài tài zhuāng lóng zuò ér shú shì jìn guǎn dòng dòng dāng zhe de miàn zhè yàng zuòér bēizhe de shí hòu yòng shuō jiù gèng duō liǎo
   duì yuē hàn guàn lái shùn shòuyīn biàn zǒu dào gēn qián fèi liǎo yuē sān fēn zhōngpīn mìng xiàng shēn chū shé tóujiù chā méi yòu bēng duàn shé gēn míng bái huì shàng xià shǒu miàn dān xīn 'áidǎ miàn níng shì zhe zhè jiù yào dòng shǒu de rén lìng rén yàn 'è de chǒu tài zhī dào kàn chū liǎo de xīn méi yòufǎn zhèng 'èr huà méi shuōměng rán jiān hěn mìng zòu liàngqiàngcóng qián dàotuì liǎo liǎng cái zhàn wěn shēn
  “ zhè shì duì de jiào xùnshuí jiào gāng cái me gēn dǐng zuǐ,” shuō,“ shuí jiào guǐ guǐ suì suì duǒ dào chuāng lián hòu miànshuí jiào liǎng fēn zhōng zhī qián yǎn guāng chū guǐ yàng zhè hào !”
   jīng guàn yuē hàn · de mán cóng lái yuàn cǎi xīn zhǐ xiǎng zhe jiā rěn shòu hòu rán jiē zōng 'ér lái de 'ōu
  “ duǒ zài chuāng lián hòu miàn gànshénme?” wèn
  “ zài kàn shū。”
  “ shū lái。”
   zǒu huí chuāng qián shū lái
  “ méi yòu dòng men de shū shuō de kào bié rén yǎng huó méi yòu qián shénme méi liú gěi yīngdāng tǎo fànér gāi tóng xiàng men zhè yàng miàn rén jiā de hái guò gāi tóng men chī yàng de fànchuān tāo qián gěi mǎi de xiàn zài yào jiào xùn ràng zhī dào fān men shū jià de hǎo chùzhè xiē shū shì delián zhěng zuò fáng dōushìyào guò nián jiù guī liǎogǔnzhàn dào mén biān jìng chuāng yuǎn xiē。”
   zhào de huà zuò liǎo chū bìng zhī dào de yòng dàn shì shū wěn dāng liǎo shēn lái bǎi chū yào rēng guò lái de jià shì shí shēng jīng jiàoběn néng wǎng bàng biān shǎn shì wǎn liǎo běn shū jīng rēng guò láizhèng hǎo zhōng liǎo yìng shēng dǎo xiànǎo dài zhuàng zài mén shàngpèng chū liǎo xuè láiténg tòng nán rěn de kǒng xīn jīng yuè guò liǎo xiànbèi qíng gǎn suǒ dài
  “ shì 'è cán bào de hái !” shuō。“ xiàng shā rén fàn héng héng shì jiān gōng héng héng xiàng luó huáng !”
   guò 'ěr deluó shǐ》, shí děng rén yòu de kàn bìng 'àn 'àn zuò guò lèi dàn jué méi yòu xiǎng dào huì shēng shuō chū kǒu lái
  “ shénmeshénme!” jiào rǎng。“ shì shuō de suōqiáo zhì men tīng jiàn shuō liǎo huì gào guò xiān héng héng
   xiàng zhí chōng guò lái zhǐ jué zhuā zhù liǎo de tóu jiān bǎng gēn pīn lǎo mìng de jiā huǒ niǔ zài liǎo xiàn zhēn shì bào jūnshì shā rén fàn jué liǎng xuè cóng tóu shàng shùn zhe tǎng xià láigǎn dào zhèn de tòngzhè xiē gǎn jué shí zhàn liǎo shàng fēng zài wèi ér fēng tóng duì lái tài qīng chǔ de shuāng shǒu dào gān liǎo shénmezhǐ tīng hào hào !” miàn shā zhū háo jiào zhe de bāng shǒu jìn zài zhǐ chǐ suō qiáo zhì zǎo páo chū tǎo jiù bīng tài tài shàng liǎo lóu lái dào xiàn chǎnghòu miàn gēn suí zhe bèi qiàn yōng 'ài men men kāi liǎo zhǐ tīng jiàn men shuō
  “ āi āi zhè me de chū zài yuē hàn shàoye shēn shàng:”
  “ shuí jiàn guò me huǒ mào sān zhàng de!”
   suí hòu tài tài chōng shuō
  “ dài dào hóng fáng guān lái。” shì shàng jiù yòu liǎng shuāng shǒu 'àn zhù liǎo tuī shàng lóu


  There was no possibility of taking a walk that day. We had been wandering, indeed, in the leafless shrubbery an hour in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question.
   I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed.
   The said Eliza, John, and Georgiana were now clustered round their mama in the drawing-room: she lay reclined on a sofa by the fireside, and with her darlings about her (for the time neither quarrelling nor crying) looked perfectly happy. Me, she had dispensed from joining the group; saying, "She regretted to be under the necessity of keeping me at a distance; but that until she heard from Bessie, and could discover by her own observation, that I was endeavouring in good earnest to acquire a more sociable and childlike disposition, a more attractive and sprightly manner -- something lighter, franker, more natural, as it were -- she really must exclude me from privileges intended only for contented, happy, little children. "
   "What does Bessie say I have done?" I asked.
   "Jane, I don't like cavillers or questioners; besides, there is something truly forbidding in a child taking up her elders in that manner. Be seated somewhere; and until you can speak pleasantly, remain silent. "
   A breakfast-room adjoined the drawing-room, I slipped in there. It contained a bookcase: I soon possessed myself of a volume, taking care that it should be one stored with pictures. I mounted into the window-seat: gathering up my feet, I sat cross-legged, like a Turk; and, having drawn the red moreen curtain nearly close, I was shrined in double retirement.
   Folds of scarlet drapery shut in my view to the right hand; to the left were the clear panes of glass, protecting, but not separating me from the drear November day. At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon. Afar, it offered a pale blank of mist and cloud; near a scene of wet lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast.
   I returned to my book -- Bewick's History of British Birds: the letterpress thereof I cared little for, generally speaking; and yet there were certain introductory pages that, child as I was, I could not pass quite as a blank. They were those which treat of the haunts of sea-fowl; of "the solitary rocks and promontories" by them only inhabited; of the coast of Norway, studded with isles from its southern extremity, the Lindeness, or Naze, to the North Cape -
   "Where the Northern Ocean, in vast whirls, Boils round the naked, melancholy isles Of farthest Thule; and the Atlantic surge Pours in among the stormy Hebrides. "
   Nor could I pass unnoticed the suggestion of the bleak shores of Lapland, Siberia, Spitzbergen, Nova Zembla, Iceland, Greenland, with "the vast sweep of the Arctic Zone, and those forlorn regions of dreary space, -- that reservoir of frost and snow, where firm fields of ice, the accumulation of centuries of winters, glazed in Alpine heights above heights, surround the pole, and concentre the multiplied rigours of extreme cold. " Of these death-white realms I formed an idea of my own: shadowy, like all the half-comprehended notions that float dim through children's brains, but strangely impressive. The words in these introductory pages connected themselves with the succeeding vignettes, and gave significance to the rock standing up alone in a sea of billow and spray; to the broken boat stranded on a desolate coast; to the cold and ghastly moon glancing through bars of cloud at a wreck just sinking.
   I cannot tell what sentiment haunted the quite solitary churchyard, with its inscribed headstone; its gate, its two trees, its low horizon, girdled by a broken wall, and its newly-risen crescent, attesting the hour of eventide.
   The two ships becalmed on a torpid sea, I believed to be marine phantoms.
   The fiend pinning down the thief's pack behind him, I passed over quickly: it was an object of terror.
   So was the black horned thing seated aloof on a rock, surveying a distant crowd surrounding a gallows.
   Each picture told a story; mysterious often to my undeveloped understanding and imperfect feelings, yet ever profoundly interesting: as interesting as the tales Bessie sometimes narrated on winter evenings, when she chanced to be in good humour; and when, having brought her ironing-table to the nursery hearth, she allowed us to sit about it, and while she got up Mrs. Reed's lace frills, and crimped her nightcap borders, fed our eager attention with passages of love and adventure taken from old fairy tales and other ballads; or (as at a later period I discovered) from the pages of Pamela, and Henry, Earl of Moreland.
   With Bewick on my knee, I was then happy: happy at least in my way. I feared nothing but interruption, and that came too soon. The breakfast-room door opened.
   "Boh! Madam Mope!" cried the voice of John Reed; then he paused: he found the room apparently empty.
   "Where the dickens is she!" he continued. "Lizzy! Georgy! (calling to his sisters) Joan is not here: tell mama she is run out into the rain -- bad animal!"
   "It is well I drew the curtain, " thought I; and I wished fervently he might not discover my hiding-place: nor would John Reed have found it out himself; he was not quick either of vision or conception; but Eliza just put her head in at the door, and said at once -
   "She is in the window-seat, to be sure, Jack. "
   And I came out immediately, for I trembled at the idea of being dragged forth by the said Jack.
   "What do you want?" I asked, with awkward diffidence.
   "Say, 'What do you want, Master Reed?'" was the answer. "I want you to come here;" and seating himself in an arm-chair, he intimated by a gesture that I was to approach and stand before him.
   John Reed was a schoolboy of fourteen years old; four years older than I, for I was but ten: large and stout for his age, with a dingy and unwholesome skin; thick lineaments in a spacious visage, heavy limbs and large extremities. He gorged himself habitually at table, which made him bilious, and gave him a dim and bleared eye and flabby cheeks. He ought now to have been at school; but his mama had taken him home for a month or two, "on account of his delicate health. " Mr. Miles, the master, affirmed that he would do very well if he had fewer cakes and sweetmeats sent him from home; but the mother's heart turned from an opinion so harsh, and inclined rather to the more refined idea that John's sallowness was owing to over-application and, perhaps, to pining after home.
   John had not much affection for his mother and sisters, and an antipathy to me. He bullied and punished me; not two or three times in the week, nor once or twice in the day, but continually: every nerve I had feared him, and every morsel of flesh in my bones shrank when he came near. There were moments when I was bewildered by the terror he inspired, because I had no appeal whatever against either his menaces or his inflictions; the servants did not like to offend their young master by taking my part against him, and Mrs. Reed was blind and deaf on the subject: she never saw him strike or heard him abuse me, though he did both now and then in her very presence, more frequently, however, behind her back.
   Habitually obedient to John, I came up to his chair: he spent some three minutes in thrusting out his tongue at me as far as he could without damaging the roots: I knew he would soon strike, and while dreading the blow, I mused on the disgusting and ugly appearance of him who would presently deal it. I wonder if he read that notion in my face; for, all at once, without speaking, he struck suddenly and strongly. I tottered, and on regaining my equilibrium retired back a step or two from his chair.
   "That is for your impudence in answering mama awhile since, " said he, "and for your sneaking way of getting behind curtains, and for the look you had in your eyes two minutes since, you rat!"
   Accustomed to John Reed's abuse, I never had an idea of replying to it; my care was how to endure the blow which would certainly follow the insult.
   "What were you doing behind the curtain?" he asked.
   "I was reading. "
   "Show the book. "
   I returned to the window and fetched it thence.
   "You have no business to take our books; you are a dependent, mama says; you have no money; your father left you none; you ought to beg, and not to live here with gentlemen's children like us, and eat the same meals we do, and wear clothes at our mama's expense. Now, I'll teach you to rummage my bookshelves: for they ARE mine; all the house belongs to me, or will do in a few years. Go and stand by the door, out of the way of the mirror and the windows. "
   I did so, not at first aware what was his intention; but when I saw him lift and poise the book and stand in act to hurl it, I instinctively started aside with a cry of alarm: not soon enough, however; the volume was flung, it hit me, and I fell, striking my head against the door and cutting it. The cut bled, the pain was sharp: my terror had passed its climax; other feelings succeeded.
   "Wicked and cruel boy!" I said. "You are like a murderer -- you are like a slave-driver -- you are like the Roman emperors!"
   I had read Goldsmith's History of Rome, and had formed my opinion of Nero, Caligula, &c. Also I had drawn parallels in silence, which I never thought thus to have declared aloud.
   "What! what!" he cried. "Did she say that to me? Did you hear her, Eliza and Georgiana? Won't I tell mama? but first -- "
   He ran headlong at me: I felt him grasp my hair and my shoulder: he had closed with a desperate thing. I really saw in him a tyrant, a murderer. I felt a drop or two of blood from my head trickle down my neck, and was sensible of somewhat pungent suffering: these sensations for the time predominated over fear, and I received him in frantic sort. I don't very well know what I did with my hands, but he called me "Rat! Rat!" and bellowed out aloud. Aid was near him: Eliza and Georgiana had run for Mrs. Reed, who was gone upstairs: she now came upon the scene, followed by Bessie and her maid Abbot. We were parted: I heard the words -
   "Dear! dear! What a fury to fly at Master John!"
   "Did ever anybody see such a picture of passion!"
   Then Mrs. Reed subjoined -
   "Take her away to the red-room, and lock her in there. " Four hands were immediately laid upon me, and I was borne upstairs.
'èr zhāng
   fǎn kàngzài zhè hái shì tiān huāng shì jiā shēn liǎo bèi qiàn 'ài xiǎo jiě duì de 'è gǎn què shí yòu diǎn 'ér nán zhìhuò zhě guó rén suǒ shuōshī cháng liǎo shí dàoyīn wéi shí de fǎn kànghuì zāo shòu guài de chéng shìxiàng zào fǎn de yàng héng xià tiáo xīnjué qiē liǎo
  “ zhuā zhù de gēboài xiǎo jiě xiàng zhǐ liǎo fēng de māo。”
  “ zhēn diū liǎnzhēn diū liǎn!” zhè wèi zhù rén de shì jiào dào,“ duō de dòngài xiǎo jiě rán xiǎo shàoye lái liǎo shì 'ēn rén de 'ér de xiǎo zhù rén!”
  “ zhù rén zěn me huì shì zhù rénnán dào shì rén chéng?”
  “ lián réndōu gànshìchī bái shíwèizuò xià láihǎohǎo xiǎng xiǎng yòu duō huài。”
   zhè shí hòu men tuō jìn liǎo tài tài suǒ zhǐ de fáng jiāntuī cāo dào tiáo 'ǎi dèng shàng yóu zhù xiàng tánhuáng yàng tiào láidàn bèi liǎng shuāng shǒu 'àn zhù liǎo
  “ yào shì 'ān 'ān wěn wěn zuò zhe men bǎng zhù liǎo,” bèi qiàn shuō,“ ài xiǎo jiě de dài jiè gěi huì bèi xià bēng duàn de。”
   ài xiǎo jiě zhuǎn 'ér cóng zhuàng de tuǐ shàngjiě xià tiáo shǎo de dài kǔn bǎng qián de zhǔn bèi gōng zuò yóu 'ér 'é wài méng shòu de chǐ lüè wēi xiāo jiě liǎo de dòng qíng
  “ bié jiě ,” jiào dào,“ dòng jiù shì liǎo。”
   zuò wéi bǎo zhèng ràng shuāng shǒu jǐn 'āi zhe dèng
  “ zhù bié dòng,” bèi qiàn shuōzhī dào què shí jīng píng jìng xià biàn sōng liǎo shǒusuí hòu 'ài xiǎo jiě bào 'ér chén zhe liǎnmǎn dèng zhe xiāng xìn de shén jīng hái shì zhèng cháng shìde
  “ qián cóng lái méi yòu zhè yàng guò,” liǎobèi qiàn zhuǎn shēn duì wèi 'ài gài 'ěr shuō
  “ guò shēng xìng ,” duì fāng huí ,“ jīng cháng gēn tài tài shuō duì zhè hái de kàn tài tài tóng zhè xiǎo dōng zhēn jiǎo huácóng lái méi jiàn guò xiàng zhè yàng nián de xiǎo niànyòu me duō guǐ xīn yǎn de。”
   bèi qiàn méi yòu qiāngdàn huì biàn duì shuō
  “ xiǎo jiě gāi míng bái shòu liǎo tài tài de 'ēn huìshì yǎng zhe deyào shì gǎn zǒu jiù jìn pín mín yuàn liǎo。”
   duì men zhè fān huó huà shuōyīn wéi tīng lái bìng xīn xiān shēng huó de zuì zǎo zhōng jiù bāo hán zhe lèi de 'àn shìzhè xiē bèi lài bié rén guò huó de huà chéng liǎo hán de lǎo diàojiào rén tòng ràng rén nán shòudàn yòu tài hǎo dǒngài xiǎo jiě huà liǎo
  “ néng yīn wéi tài tài hǎo xīn tóng xiǎo jiě shàoye kuài yǎng jiù wéi men píng děng liǎo men jiāng lái huì yòu hěn duō hěn duō qiánér què 'ér huì yòu xué qiān gōng xiējìn liàng shùn zhe menzhè cái shì de běn fèn。”
  “ men tóng shuō de quán shì wèile hǎo,” bèi qiàn chōng dàokǒu dǎo bìng yán ,“ zuò shì yào jié xiēxué guāi diǎn yàng zhè dāng jiā zhù xià yào shì yòng shì bào gǎn kěn dìngtài tài huì niǎn zǒu。”
  “ lìng wài,” ài xiǎo jiě shuō,“ shàng huì chéng huì zài shuǎ shí chǔsǐ hòu néng shàng 'ér láibèi qiànzán men zǒu suí fǎn zhèng shì lùn dòng liǎo ài xiǎo jiě 'ér dāi zhe de shí hòu dǎo yào shì chàn huǐshuō dìng yòu huài jiā huǒ huì cóng yān cōng jìn lái dài zǒu。”
   men zǒu liǎoguān liǎo ménsuí shǒu shàng liǎo suǒ
   hóng fáng shì jiān kòngyú de fángnán yòu rén zài miàn guò shí shuōcóng lái méi yòuchú fēi gài hēi shàng 'ǒu 'ér yōng jìn qún rén shícái yòu yào dòng yòng quán fáng jiāndàn de shìshù zuì kuān chǎngzuì táng huáng liǎohéng zhāng hóng chuáng rán fáng jiān zhèng zhōng de chuáng zhù shàngzhào zhe shēn hóng jǐn duàn zhàng mànhuó xiàng zhàng péngliǎng shàn zhōng chuāng lián jǐn de chuāngbàn yǎn zài qīng zhì zhì chéng de liú zhī zhōng tǎn shì hóng dechuáng jiǎo biān de zhuō shàng zhe shēn hóng de tái qiáng chéng róu de huáng lüè dài fěn hóng chúshū zhuāng tái dōushì hēi liàng de hóng zuò dechuáng shàng gāo gāo dié zhe diàn zhěn tóushàng miàn zhe xuě bái de sài chuáng zhàozài zhōu wéi shēn diào chén shè de yìng chèn xiàbái huàn jīhū tóng yàng xiǎn yǎn de shì chuáng tóu biān zhe zuò diàn de 'ān yàng de bái qián miàn hái fàng zhe zhǐ jiǎo dèngzài kàn lái xiàng cāng bái de bǎo zuò
   fáng nán shēng huǒsuǒ hěn lěngyīn wéi yuǎn bǎo shì chú fángsuǒ hěn jìngyòu yīn wéi shuídōu zhī dào hěn shǎo yòu rén jìn suǒ xiǎn zhuāng yán zhǐ yòu yōng měi féng xīng liù shàng zhè lái zhōu nèi jìng qiǎo qiǎo luò zài jìng shàng jiā shàng de huī chén hái yòu tài tài běn rén hǎo jiǔ cái lái chá kàn chú mǒu chōu de dōng zhè cún fàng zhe lèi yáng wén jiàn de shǒu shì zhàng de xiào xiàngshàng miàn dào de zuì hòu huàgěi hóng fáng dài lái liǎo zhǒng shén gǎn zhǒng yīn 'ér suī rán táng huángquè xiǎn fènwài qīng
   xiān shēng jīng jiǔ nián liǎo jiù shì zài zhè jiān fáng yànqì de de zài zhè ràng rén zhān yǎng de guān cái yóu bìn zàng gōng rén cóng zhè tái zǒucóng zhī hòuzhè biàn shǐ zhōng màn zhe zhǒng yīn sēn sēn de diàn fēn wéisuǒ cháng yòu rén chuǎng jìn lái
   xiān shēng jīng jiǔ nián liǎo jiù shì zài zhè jiān fáng yànqì de de zài zhè ràng rén zhān yǎng de guān cái yóu bìn zàng gōng rén cóng zhè tái zǒucóng zhī hòuzhè biàn shǐ zhōng màn zhe zhǒng yīn sēn sēn de diàn fēn wéisuǒ cháng yòu rén chuǎng jìn lái
   bèi qiàn de 'ài xiǎo jiě ràng dòng dòng zuò zhe deshì tiáo ruǎn diàn 'ǎi dèngbǎi zài kào jìn shí de fāng miàn qián shì gāo sǒng de chuáng yòu miàn shì hēi de chúchú shàng róu bān de fǎn guāngshǐ xiāng bǎn de guāng yáo biàn huàn zuǒ miàn shì guān yán yán shí shí de chuāng liǎng shàn chuāng zhōng jiān yòu miàn jìng yìng zhào chū chuáng fáng jiān de kōng kuàng chī zhǔn men suǒ liǎo mén méi yòuděng dào gǎn zǒu dòng shíbiàn lái kàn jiū jìngāi cuò láo fáng suǒ hái jǐn fǎn huí yuán shí jīng guò jìng gēn qián de guāng bèi yǐn zhù liǎojìn zhù tàn jiū jìng zhōng de shì jiè láizài huàn de yìng xiàng zhōng qiēdōu xiǎn xiàn shí zhōng gèng lěng luògèng yīn chén shēng de xiǎo jiā huǒ chǒu zhe bái bái de liǎn shàng gēbo shàng méng shàng liǎo bān de yīn yǐngzài héng qiēdōu níng zhì shíwéi yòu shuāng míng liàng kǒng de yǎn jīng zài shǎn dòngkàn shàng zhēn xiàng shì yōu líng jué xiàng zhǒng bàn xiān bàn rén de xiǎo jīng língqià bèi yīn zài wǎn de shì zhōng suǒ miáo huì de yàngcóng zhǎo dài shān jué cóng shēng de huāng zhōng mào chū láixiàn shēn chí guī de xíng zhě yǎn qián huí dào dīng de 'ǎi dèng shàng
   zhè shí hòu xiāng xìn xìn lái liǎodàn bìng méi yòu dào liǎo wán quán tīng píng bǎi de chéng rán xuè fèi téngfǎn pàn de zhǒng qíng rán zhe wǎng shì cháozài nǎo hǎi zhōng bēn yǒng guǒ jiā 'è zhì jiù huì duì yīn 'àn de xiàn shí
   yuē hàn · de zhuān héng dào jiě mèi de gāo 'ào lěng qīn de yàn 'è rén men de piān xīnxiàng kǒu hùn dùn de shuǐ jǐng zhōng hēi de chén diàn nǎo 'ér fàn zài fán nǎo 'ān de xīn tóu
   wèishénme zǒng shì shòu zǒng shì zāo rén bái yǎnzǒng shì ràng rén gào zhuàngyǒng yuǎn shòu dào bèi wèishénme yǒng yuǎn néng tǎo rén huānwèishénme jìn huān xīnquè rán shì suō rèn xìngquè shòu dào zūn jìngqiáo zhì hǎo shǐ xìng xīn cháng yòu ér qiě qiǎngcí duó kōng qiēpiān piān dào suǒ yòu rén de zòng róng de měi mào hóng rùn de miàn jiájīn de juǎnfàshǐ rén jiàn rén 'ài jùn biàn zhē bǎi chǒuzhì yuē hànméi yòu rén tóng dǐng zhuànggèng yòng shuō jiào xùn liǎosuī rán shénme huài shìdōu gānniǎn duàn de tóu jǐngnòng xiǎo kǒng quèfàng gǒu yǎo yángcǎi zhāi wēn shì zhōng de táoqiā duàn nuǎn fáng shàng děng huā de nèn yòu shí hái jiào qīnlǎo niàn”, yòu yīn wéi yǒu hēi xiàng 'ér kǒu mánhèng qīn zuò duìjīng cháng huǐ de chóu zhuāngér què rán shì de bǎo bèi dàn”。 ér gǎn yòu háo shǎn shīgànshénme quán rén jiā hái shì táo guǐtǎo yàn yīn zéi liù liùcóng zǎo shàng dào xià cóng xià dào wǎn shàng
   yīn wéi 'āi liǎo diē liǎo jiāotóu rán téng tòng rán liú zhe xuèyuē hàn què shòu bèiér guò wèile miǎn zāo jìn 'ōu fǎn kàng liǎo xiàbiàn chéng liǎo zhòngshǐzhīdì
  “ gōng gōng!” de zhì hǎn zhezài tòng de xià de zhì biàn zǎo shúhuà zuò liǎo zhǒng duǎn zàn de liàngjué xīn tóng yàng dòng lái cǎi mǒu zhǒng guài de shǒu duànlái bǎi tuō nán rěn shòu de táo páoyào shì néng zòu xiào jiù chī huó huó 'è
   yīn chén de xià xīn duō me huáng kǒng 'ān de zhěng nǎo dài tuán luàn de zhěng xīn zài fǎn kàngrán 'ér chǎng nèi xīn dǒu zhēng yòu xiǎn duō me máng ránduō me zhī 'ā huí xīn yǒng xiū zhǐ de wèn héng héng wèishénme yào shòu zài xiāng héng héng shuō duō shǎo nián hòu kàn qīng chǔ liǎo
   zài gài hēi shàng zài gēn shuídōu xiàngtóng tài tài de hái kàn zhōng de jiā dōubù róng qià men 'ài shuō shí zài yàng 'ài men men méi yòu yào qíng duì dài lái de jiā huǒ lùn shì xìng wèihái shì shì hǎo tóng men jīng wèi fēn míng de néng wèitā men xiào láo néng gěi men zēng tiān huān de fèi duì de jìng jiè xīn cún mǎn 'ér yòu miè shì men xiǎng de tǎo yàn jiā huǒ míng bái guǒ shì cōng míng kāi lǎngpiào liàng wán hǎo shì hòu de hái shǐ tóng yàng shì rén xiàtóng yàng shì qīn tài tài huì duì de chǔjìng gèng jiā kuān róng rěn ràng de hái men huì duì qīnqiè qíng xiēyōng rén men huì zài dāng zuò bǎo shì de zuì yáng liǎo
   hóng fáng bái zhòu jiāng jìnshí hòu shì diǎn guò hòuàn chén chén de xià zhèng zhuǎn wéi liáng de huáng hūn tīng jiàn diǎn réng tíng qiāo dǎzháo lóu de chuāng kuáng fēng zài mén tīng hòu miàn de shù cóng zhōng nùháo jiàn jiàn lěngde xiàng kuài shí tóuyǒng yān xiāo yún sànwǎng cháng zhǒng gǎn zhǒng quē xìn sàng de qíng jiāo miè liǎo jiāng xiāo wèi xiāo de huǒshuídōu shuō huài què shí shì xīn móu huá zhe ràng 'è zhè dāng rán shì zhǒng zuì guòér qiě gāi gāi huò zhěgài hēi jiào táng shèng tán xià de xué shì lìng rén xiàng wǎng de guī tīng shuō xiān shēng jiù cháng mián zài zhè yàng de xué zhè niàn tóu zhòng yòu gòu liǎo duì de huí ér yuè wǎng xià xiǎngjiù yuè hài lái jīng liǎozhǐ zhī dào shì jiù héng héng qīn de héng héng shōu yǎng liǎo zhè qiǎng bǎo zhōng de 'érér qiě zài liú zhī yào tài tài dāyìng dāng zuò de hái lái yǎng tài tài rèn wéi shì xìn shǒu nuò yán deér xiǎng jiù běn xìng 'ér lùn què shì shí jiàn liǎo dāng chū de nuò shì zěn me néng zhēn xīn huān shǔ jiā de wài xìng zài zhàng hòu tóng liǎo què qiē gān de rén xiàn shòu zhè miǎn wéi nán de bǎo zhèng de yuē shùchōng dāng suǒ 'ài de shēng hái de qīnyǎn zhēng zhēng kàn zhe wèi xiāng tóu de wài rén yǒng yuǎn yìng zài de jiā rén zhōng jiānduì lái shuōzhè xiǎng shì jiàn zuì nǎo rén de shì qíng liǎo
   hóng fáng bái zhòu jiāng jìnshí hòu shì diǎn guò hòuàn chén chén de xià zhèng zhuǎn wéi liáng de huáng hūn tīng jiàn diǎn réng tíng qiāo dǎzháo lóu de chuāng kuáng fēng zài mén tīng hòu miàn de shù cóng zhōng nùháo jiàn jiàn lěngde xiàng kuài shí tóuyǒng yān xiāo yún sànwǎng cháng zhǒng gǎn zhǒng quē xìn sàng de qíng jiāo miè liǎo jiāng xiāo wèi xiāo de huǒshuídōu shuō huài què shí shì xīn móu huá zhe ràng 'è zhè dāng rán shì zhǒng zuì guòér qiě gāi gāi huò zhěgài hēi jiào táng shèng tán xià de xué shì lìng rén xiàng wǎng de guī tīng shuō xiān shēng jiù cháng mián zài zhè yàng de xué zhè niàn tóu zhòng yòu gòu liǎo duì de huí ér yuè wǎng xià xiǎngjiù yuè hài lái jīng liǎozhǐ zhī dào shì jiù héng héng qīn de héng héng shōu yǎng liǎo zhè qiǎng bǎo zhōng de 'érér qiě zài liú zhī yào tài tài dāyìng dāng zuò de hái lái yǎng tài tài rèn wéi shì xìn shǒu nuò yán deér xiǎng jiù běn xìng 'ér lùn què shì shí jiàn liǎo dāng chū de nuò shì zěn me néng zhēn xīn huān shǔ jiā de wài xìng zài zhàng hòu tóng liǎo què qiē gān de rén xiàn shòu zhè miǎn wéi nán de bǎo zhèng de yuē shùchōng dāng suǒ 'ài de shēng hái de qīnyǎn zhēng zhēng kàn zhe wèi xiāng tóu de wài rén yǒng yuǎn yìng zài de jiā rén zhōng jiānduì lái shuōzhè xiǎng shì jiàn zuì nǎo rén de shì qíng liǎo
   rán shǎn guò guài de niàn tóu huái héng cóng lái méi yòuhuái guò héng héng xiān shēng yào shì zài shì dìng huì dài hěn hǎo zuò zhe miàn dǎliang zhe bái bái de chuáng yǐng yǐng chuò chuò de qiáng shí hái yòng jīng zhù yòu huò de guāngpiǎo yǎn fàn zhe wēi guāng de jìng yóu liǎo guān rén de zhǒng zhǒng chuán wén shuō yóu rén men wéi bèi liǎo men lín zhōng de zhǔ tuō men zài fén fēi cháng 'ān shì biàn zhòng fǎng rén jiānyán chéng jiǎ shì de rénbìng wéi shòu zhě bào chóu cǔn xiān shēng de yōu líng wéi wài shēng de yuān suǒ dònghuì zǒu chū suǒ guǎn shì jiào táng de xuéhái shì zhě rén zhī xiǎo de shì jièlái dào zhè jiān fáng zhàn zài miàn qián yǎn lèirěn zhù dān xīn háo táo huì jīng dòng shénme zhī de shēng yīn lái wèi huò zhě zài hūn 'àn zhōng zhào lái mǒu xiē dài guāng huán de miàn kǒng chū lián mǐn de shén shēn duì zhe zhè niàn tóu tīng lái hěn lìng rén xīn wèi guò yào shì zhēn de zuò láixiǎng huì fēi cháng shǐ jìn xiǎng tái tóu lái zhe dǎn huán liǎo xià 'àn dòng dòng de fáng jiānjiù zài zhè shíqiáng shàng shǎn guò dào liàng guāng wèn huì huì shì yuè guāngtòu guò bǎi chuāng de fèngxì zhào liǎo jìn láiyuè guāng shì jìng zhǐ deér zhè tòu guāng què shì liú dòng detíng qíng kànzhè guāng xiàn huá dào liǎo tiān huā bǎn shàngzài tóu dǐng shàng dǒu dòng láixiàn zài huì hěn rán lián xiǎng dào hěn néng shì yòu rén zhe dēng lóng chuān guò cǎo shí shè jìn lái de guāngdàn huì 'ér nǎo jìn wǎng kǒng chù xiǎng de shén jīng yóu dòng 'ér fēi cháng jǐn zhāng rèn wéi dào fēi kuài lüè guò de guāngshì mǒu yōu líng cóng lìng shì jiè dào lái de xiān zhào de xīn pēng pēng luàn tiàotóu nǎo yòu yòu zhàngěr duǒ zuò xiǎng wéi shì chì bǎng pāi shēnghǎo xiàng shénme dōng jīng jìn liǎo gǎn dào gǎn dào zhì de rěn nài bēng kuì liǎojìn zhù fēng jiào liǎo shēngchōng xiàng ménpīn mìng yáo zhe mén suǒwài miàn men láng shàng xiǎng liǎo fēi páo 'ér lái de jiǎo shēngyàoshì zhuàndòng liǎobèi qiàn 'ài zǒu jìn fáng jiān
  “ ā kàn dào liǎo dào guāngxiǎng shì guǐ lái liǎo。” zhè shí zhù liǎo bèi qiàn de shǒuér bìng méi yòu chōu huí
  “ shì luàn jiào luàn rǎng de,” ài yàn fán dāng zhe de miàn shuō,“ ér qiě jiào me xiōngyào shì zhēn tòng hàidǎo hái yuán liàng zhǐ guò yào men piàn dào zhè lái zhī dào de guǐ 。”
  “ dào shì zěn me huí shì?” duō duō rén de shēng yīn wèn dàosuí hòu tài tài cóng zǒu láng zǒu guò láimào piāo zhe bèi fēng deshuì páo xiǎng tíng。“ ài bèi qiàn xiǎng fēn guòràng jiǎn · ài dāi zài hóng fáng yóu qīn lái guò wèn。”
  “ jiǎn xiǎo jiě jiào me xiǎng rén,” bèi yīn kěn qiú zhe
  “ fàng kāi ,” zhè shì wéi de huí 。“ sōng kāi bèi yīn de shǒuhái jìn fàng xīnkào zhè xiē bàn shì chū de tǎo yàn shuǎ huā zhāoyóu shì xiǎo hái yòu rèn ràng zhī dàoguǐ guǎn yòngxiàn zài yào zài zhè duō dāi xiǎo shíér qiě zhǐ yòu tiē tiē dòng dòngcái fàng chū lái。”
  “ ājiù lián lián ráo shù shí zài shòu liǎo yòng bié de bàn chéng huì biē deyào shì héng héng
  “ zhù zuǐzhè me nào nào rǎng rǎng tǎo yàn tòu liǎo。” jiù shì zhè me gǎn jué dezài yǎn shì zǎo shú de yǎn yuán xīn rèn wéi shì běn xìng 'è líng hún bēi lièwéi rén yīn xiǎn de huò
   bèi qiàn 'ài tuì liǎo chū tài tài duì fēng de tòng háo jiào hěn nài fán zài wǎng xià tán liǎo wǎng hòu tuīsuǒ shàng liǎo mén tīng jiàn táng 'ér huáng zhī zǒu liǎo zǒu hòu jiǔ cāi xiǎng biàn zhèn jìng luánhūn liǎo guò jié shù liǎo zhè chǎng chǎo nào


  I resisted all the way: a new thing for me, and a circumstance which greatly strengthened the bad opinion Bessie and Miss Abbot were disposed to entertain of me. The fact is, I was a trifle beside myself; or rather OUT of myself, as the French would say: I was conscious that a moment's mutiny had already rendered me liable to strange penalties, and, like any other rebel slave, I felt resolved, in my desperation, to go all lengths.
   "Hold her arms, Miss Abbot: she's like a mad cat. "
   "For shame! for shame!" cried the lady's-maid. "What shocking conduct, Miss Eyre, to strike a young gentleman, your benefactress's son! Your young master. "
   "Master! How is he my master? Am I a servant?"
   "No; you are less than a servant, for you do nothing for your keep. There, sit down, and think over your wickedness. "
   They had got me by this time into the apartment indicated by Mrs. Reed, and had thrust me upon a stool: my impulse was to rise from it like a spring; their two pair of hands arrested me instantly.
   "If you don't sit still, you must be tied down, " said Bessie. "Miss Abbot, lend me your garters; she would break mine directly. "
   Miss Abbot turned to divest a stout leg of the necessary ligature. This preparation for bonds, and the additional ignominy it inferred, took a little of the excitement out of me.
   "Don't take them off, " I cried; "I will not stir. "
   In guarantee whereof, I attached myself to my seat by my hands.
   "Mind you don't, " said Bessie; and when she had ascertained that I was really subsiding, she loosened her hold of me; then she and Miss Abbot stood with folded arms, looking darkly and doubtfully on my face, as incredulous of my sanity.
   "She never did so before, " at last said Bessie, turning to the Abigail.
   "But it was always in her, " was the reply. "I've told Missis often my opinion about the child, and Missis agreed with me. She's an underhand little thing: I never saw a girl of her age with so much cover. "
   Bessie answered not; but ere long, addressing me, she said -- "You ought to be aware, Miss, that you are under obligations to Mrs. Reed: she keeps you: if she were to turn you off, you would have to go to the poorhouse. "
   I had nothing to say to these words: they were not new to me: my very first recollections of existence included hints of the same kind. This reproach of my dependence had become a vague sing-song in my ear: very painful and crushing, but only half intelligible. Miss Abbot joined in -
   "And you ought not to think yourself on an equality with the Misses Reed and Master Reed, because Missis kindly allows you to be brought up with them. They will have a great deal of money, and you will have none: it is your place to be humble, and to try to make yourself agreeable to them. "
   "What we tell you is for your good, " added Bessie, in no harsh voice, "you should try to be useful and pleasant, then, perhaps, you would have a home here; but if you become passionate and rude, Missis will send you away, I am sure. "
   "Besides, " said Miss Abbot, "God will punish her: He might strike her dead in the midst of her tantrums, and then where would she go? Come, Bessie, we will leave her: I wouldn't have her heart for anything. Say your prayers, Miss Eyre, when you are by yourself; for if you don't repent, something bad might be permitted to come down the chimney and fetch you away. "
   They went, shutting the door, and locking it behind them.
   The red-room was a square chamber, very seldom slept in, I might say never, indeed, unless when a chance influx of visitors at Gateshead Hall rendered it necessary to turn to account all the accommodation it contained: yet it was one of the largest and stateliest chambers in the mansion. A bed supported on massive pillars of mahogany, hung with curtains of deep red damask, stood out like a tabernacle in the centre; the two large windows, with their blinds always drawn down, were half shrouded in festoons and falls of similar drapery; the carpet was red; the table at the foot of the bed was covered with a crimson cloth; the walls were a soft fawn colour with a blush of pink in it; the wardrobe, the toilet-table, the chairs were of darkly polished old mahogany. Out of these deep surrounding shades rose high, and glared white, the piled-up mattresses and pillows of the bed, spread with a snowy Marseilles counterpane. Scarcely less prominent was an ample cushioned easy-chair near the head of the bed, also white, with a footstool before it; and looking, as I thought, like a pale throne.
   This room was chill, because it seldom had a fire; it was silent, because remote from the nursery and kitchen; solemn, because it was known to be so seldom entered. The house-maid alone came here on Saturdays, to wipe from the mirrors and the furniture a week's quiet dust: and Mrs. Reed herself, at far intervals, visited it to review the contents of a certain secret drawer in the wardrobe, where were stored divers parchments, her jewel-casket, and a miniature of her deceased husband; and in those last words lies the secret of the red-room -- the spell which kept it so lonely in spite of its grandeur.
   Mr. Reed had been dead nine years: it was in this chamber he breathed his last; here he lay in state; hence his coffin was borne by the undertaker's men; and, since that day, a sense of dreary consecration had guarded it from frequent intrusion.
   My seat, to which Bessie and the bitter Miss Abbot had left me riveted, was a low ottoman near the marble chimney-piece; the bed rose before me; to my right hand there was the high, dark wardrobe, with subdued, broken reflections varying the gloss of its panels; to my left were the muffled windows; a great looking-glass between them repeated the vacant majesty of the bed and room. I was not quite sure whether they had locked the door; and when I dared move, I got up and went to see. Alas! yes: no jail was ever more secure. Returning, I had to cross before the looking-glass; my fascinated glance involuntarily explored the depth it revealed. All looked colder and darker in that visionary hollow than in reality: and the strange little figure there gazing at me, with a white face and arms specking the gloom, and glittering eyes of fear moving where all else was still, had the effect of a real spirit: I thought it like one of the tiny phantoms, half fairy, half imp, Bessie's evening stories represented as coming out of lone, ferny dells in moors, and appearing before the eyes of belated travellers. I returned to my stool.
   Superstition was with me at that moment; but it was not yet her hour for complete victory: my blood was still warm; the mood of the revolted slave was still bracing me with its bitter vigour; I had to stem a rapid rush of retrospective thought before I quailed to the dismal present.
   All John Reed's violent tyrannies, all his sisters' proud indifference, all his mother's aversion, all the servants' partiality, turned up in my disturbed mind like a dark deposit in a turbid well. Why was I always suffering, always browbeaten, always accused, for ever condemned? Why could I never please? Why was it useless to try to win any one's favour? Eliza, who was headstrong and selfish, was respected. Georgiana, who had a spoiled temper, a very acrid spite, a captious and insolent carriage, was universally indulged. Her beauty, her pink cheeks and golden curls, seemed to give delight to all who looked at her, and to purchase indemnity for every fault. John no one thwarted, much less punished; though he twisted the necks of the pigeons, killed the little pea-chicks, set the dogs at the sheep, stripped the hothouse vines of their fruit, and broke the buds off the choicest plants in the conservatory: he called his mother "old girl, " too; sometimes reviled her for her dark skin, similar to his own; bluntly disregarded her wishes; not unfrequently tore and spoiled her silk attire; and he was still "her own darling. " I dared commit no fault: I strove to fulfil every duty; and I was termed naughty and tiresome, sullen and sneaking, from morning to noon, and from noon to night.
   My head still ached and bled with the blow and fall I had received: no one had reproved John for wantonly striking me; and because I had turned against him to avert farther irrational violence, I was loaded with general opprobrium.
   "Unjust! -- unjust!" said my reason, forced by the agonising stimulus into precocious though transitory power: and Resolve, equally wrought up, instigated some strange expedient to achieve escape from insupportable oppression -- as running away, or, if that could not be effected, never eating or drinking more, and letting myself die.
   What a consternation of soul was mine that dreary afternoon! How all my brain was in tumult, and all my heart in insurrection! Yet in what darkness, what dense ignorance, was the mental battle fought! I could not answer the ceaseless inward question -- WHY I thus suffered; now, at the distance of -- I will not say how many years, I see it clearly.
   I was a discord in Gateshead Hall: I was like nobody there; I had nothing in harmony with Mrs. Reed or her children, or her chosen vassalage. If they did not love me, in fact, as little did I love them. They were not bound to regard with affection a thing that could not sympathise with one amongst them; a heterogeneous thing, opposed to them in temperament, in capacity, in propensities; a useless thing, incapable of serving their interest, or adding to their pleasure; a noxious thing, cherishing the germs of indignation at their treatment, of contempt of their judgment. I know that had I been a sanguine, brilliant, careless, exacting, handsome, romping child -- though equally dependent and friendless -- Mrs. Reed would have endured my presence more complacently; her children would have entertained for me more of the cordiality of fellow-feeling; the servants would have been less prone to make me the scapegoat of the nursery.
   Daylight began to forsake the red-room; it was past four o'clock, and the beclouded afternoon was tending to drear twilight. I heard the rain still beating continuously on the staircase window, and the wind howling in the grove behind the hall; I grew by degrees cold as a stone, and then my courage sank. My habitual mood of humiliation, self-doubt, forlorn depression, fell damp on the embers of my decaying ire. All said I was wicked, and perhaps I might be so; what thought had I been but just conceiving of starving myself to death? That certainly was a crime: and was I fit to die? Or was the vault under the chancel of Gateshead Church an inviting bourne? In such vault I had been told did Mr. Reed lie buried; and led by this thought to recall his idea, I dwelt on it with gathering dread. I could not remember him; but I knew that he was my own uncle -- my mother's brother -- that he had taken me when a parentless infant to his house; and that in his last moments he had required a promise of Mrs. Reed that she would rear and maintain me as one of her own children. Mrs. Reed probably considered she had kept this promise; and so she had, I dare say, as well as her nature would permit her; but how could she really like an interloper not of her race, and unconnected with her, after her husband's death, by any tie? It must have been most irksome to find herself bound by a hard-wrung pledge to stand in the stead of a parent to a strange child she could not love, and to see an uncongenial alien permanently intruded on her own family group.
   A singular notion dawned upon me. I doubted not -- never doubted -- that if Mr. Reed had been alive he would have treated me kindly; and now, as I sat looking at the white bed and overshadowed walls -- occasionally also turning a fascinated eye towards the dimly gleaning mirror -- I began to recall what I had heard of dead men, troubled in their graves by the violation of their last wishes, revisiting the earth to punish the perjured and avenge the oppressed; and I thought Mr. Reed's spirit, harassed by the wrongs of his sister's child, might quit its abode -- whether in the church vault or in the unknown world of the departed -- and rise before me in this chamber. I wiped my tears and hushed my sobs, fearful lest any sign of violent grief might waken a preternatural voice to comfort me, or elicit from the gloom some haloed face, bending over me with strange pity. This idea, consolatory in theory, I felt would be terrible if realised: with all my might I endeavoured to stifle it -- I endeavoured to be firm. Shaking my hair from my eyes, I lifted my head and tried to look boldly round the dark room; at this moment a light gleamed on the wall. Was it, I asked myself, a ray from the moon penetrating some aperture in the blind? No; moonlight was still, and this stirred; while I gazed, it glided up to the ceiling and quivered over my head. I can now conjecture readily that this streak of light was, in all likelihood, a gleam from a lantern carried by some one across the lawn: but then, prepared as my mind was for horror, shaken as my nerves were by agitation, I thought the swift darting beam was a herald of some coming vision from another world. My heart beat thick, my head grew hot; a sound filled my ears, which I deemed the rushing of wings; something seemed near me; I was oppressed, suffocated: endurance broke down; I rushed to the door and shook the lock in desperate effort. Steps came running along the outer passage; the key turned, Bessie and Abbot entered.
   "Miss Eyre, are you ill?" said Bessie.
   "What a dreadful noise! it went quite through me!" exclaimed Abbot.
   "Take me out! Let me go into the nursery!" was my cry.
   "What for? Are you hurt? Have you seen something?" again demanded Bessie.
   "Oh! I saw a light, and I thought a ghost would come. " I had now got hold of Bessie's hand, and she did not snatch it from me.
   "She has screamed out on purpose, " declared Abbot, in some disgust. "And what a scream! If she had been in great pain one would have excused it, but she only wanted to bring us all here: I know her naughty tricks. "
   "What is all this?" demanded another voice peremptorily; and Mrs. Reed came along the corridor, her cap flying wide, her gown rustling stormily. "Abbot and Bessie, I believe I gave orders that Jane Eyre should be left in the red-room till I came to her myself. "
   "Miss Jane screamed so loud, ma'am, " pleaded Bessie.
   "Let her go, " was the only answer. "Loose Bessie's hand, child: you cannot succeed in getting out by these means, be assured. I abhor artifice, particularly in children; it is my duty to show you that tricks will not answer: you will now stay here an hour longer, and it is only on condition of perfect submission and stillness that I shall liberate you then. "
   "O aunt! have pity! Forgive me! I cannot endure it -- let me be punished some other way! I shall be killed if -- "
   "Silence! This violence is all most repulsive:" and so, no doubt, she felt it. I was a precocious actress in her eyes; she sincerely looked on me as a compound of virulent passions, mean spirit, and dangerous duplicity.
   Bessie and Abbot having retreated, Mrs. Reed, impatient of my now frantic anguish and wild sobs, abruptly thrust me back and locked me in, without farther parley. I heard her sweeping away; and soon after she was gone, I suppose I had a species of fit: unconsciousness closed the scene.
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