首頁>> 文學>> 外国经典>> 夏洛蒂·勃朗特 Charlotte Bronte   英國 United Kingdom   漢諾威王朝   (1816年四月21日1855年三月31日)
簡·愛 Jane Eyre
  《簡·愛》是英國十九世紀著名的女作傢夏洛蒂·勃朗特的代表作,人們普遍認為《簡·愛》是夏洛蒂·勃朗特“詩意的生平”的寫照,是一部具有自傳色彩的作品。夏洛蒂·勃朗特、艾米莉·勃朗特、安妮·勃朗特和勃朗寧夫人構成那個時代英國婦女最高榮譽的完美的三位一體。
  
  《簡·愛》是一部帶有自傳色彩的長篇小說,它闡釋了這樣一個主題:人的價值=尊嚴+愛。《簡·愛》剛出版時,作者夏洛蒂勃朗特用的筆名是柯勒貝爾。以至於之後她的姐妹們出的書都被誤認為是她寫的。好在她之後親自在《簡·愛》再版時澄清事實。
  
  《簡·愛》的作者夏洛蒂·勃朗特和《呼嘯山莊》的作者艾米莉是姐妹。雖然兩人生活在同一社會,家庭環境中,性格卻大不相同,夏洛蒂.勃朗特顯得更加的溫柔,更加的清純,更加的喜歡追求一些美好的東西,儘管她傢境貧窮,從小失去了母愛,父愛也很少,再加上她身材矮小,容貌不美,但也許就是這樣一種靈魂深處的很深的自卑,反映在她的性格上就是一種非常敏感的自尊,以自尊作為她內心深處的自卑的補償。她描寫的簡。愛也是一個不美的,矮小的女人,但是她有着極其強烈的自尊心。她堅定不移地去追求一種光明的,聖潔的,美好的生活。
  《簡·愛》-故事梗概
  
  簡·愛的父親是個窮牧師,當她還在幼年時,父母就染病雙雙去世。簡·愛被送到蓋茨海德莊園的舅母裏德太太傢撫養,裏德先生臨死前曾囑咐妻子好好照顧簡·愛。簡·愛在裏德太太傢的地位,連使女都不如,受盡了表兄表姊妹的欺侮。一天表兄又打她了,她回手反抗,卻被舅母關進紅房子裏,她的舅舅裏德先生就死在這間屋子裏。她被幻想中的鬼魂嚇昏了過去。重病一場,過了很久纔慢慢恢復健康。
  
  她再也不想呆在裏德太太傢了,裏德太太就把她送進達羅沃德孤兒院。孤兒院院長是個冷酷的偽君子,他用種種辦法從精神和肉體上摧殘孤兒。簡與孤兒海倫結成好友,教師潭泊爾小姐很關心她。在孤兒院裏一場傳染性的傷寒,奪走了許多降兒的生命,海倫就在這場傷寒中死去,這對簡·愛 打擊很大。
  
  簡畢業後留校當了兩年教師,她受不了那裏的孤寂、冷漠,登廣告找到了一個家庭教師的工作,於是她來到了桑費爾德莊園。在桑費爾德莊園衹有莊園主羅徹斯特和他的私生女阿戴爾·瓦倫斯,而羅徹斯特經常到國外旅行,所以簡到桑費爾德好幾天,也沒見到羅徹斯特。
  
  一天黃昏,簡外出散步,驚了剛剛從外面回來的羅徹斯特的馬,羅徹斯特從馬上摔了下來,簡急忙上前去扶他,回到傢後簡纔知道他便是莊園主羅徹斯特。羅徹斯特是個性格陰鬱而又喜怒無常的人,他和簡經常為某種思想新辯論不休。
  
  在桑費爾德莊園不斷發生奇怪的事情。有一天夜裏,簡被一陣奇怪的笑聲驚醒,發現羅徹斯特的房門開着,床上着了火,她叫醒羅徹斯特並撲滅火。羅徹斯特告訴簡三樓住着一個女栽縫格雷斯·普爾,她神精錯亂,時常發出令人毛骨悚然的狂笑聲,並要她對此事嚴守秘密。
  
  羅徹斯特經常參加舞會,一天他把客人請到傢裏來玩,人們都以為在這場舞會上羅徹斯特會嚮布蘭奇小姐求婚。在宴會上羅徹斯特堅持要簡也到客廳裏去,客人們對簡的太度十分輕慢,羅徹卻邀請簡跳舞,簡感覺到自己對羅徹斯特發生感情。
  
  一天,羅徹斯特外出,傢裏來了一個蒙着蓋頭的吉卜賽人。當輪到給簡算命時,簡發現這個神秘的吉卜賽人就是羅徹斯特,他想藉此試探簡對他的感情。這時莊園裏又來了個名梅森的陌生人,當晚他被三樓的神秘女人咬傷了,簡幫羅徹斯特把他秘密送走。
  
  不久,裏德太太派人來找簡,說她病危要見簡一面。回到舅母傢中,裏德太太給她一封信,這封信是三年前簡的叔父寄來的,嚮她打聽侄女的消息,並把自己的遺産交給簡。裏德太太謊稱簡在孤兒院病死了,直到臨終前纔良心發現把真相告訴簡。
  
  簡又回到桑費爾德莊園感覺像回到傢一樣。回來後,羅徹斯特嚮她未婚,簡答應了,並高興地準備婚禮。婚禮前夜,簡從夢中驚醒,看到一個身材高大、面目可憎的女人正在戴她的婚紗,然後把婚紗撕成碎片。羅徹斯特告訴她那不過是一個夢,第二天當簡醒來時發現婚紗真的成了碎片。
  
  婚禮如期舉行,一位不速之客闖進了教堂,聲稱婚禮不能進行,他說羅徹斯特15 年前娶梅森先生的妹妹伯莎·梅森為妻。羅徹斯特承認了這一事實,並領人們看被關在三樓的瘋女人,那就是他的合法妻子。她有遺傳性精神病史,就是她在羅徹斯特的房間放火,也是她撕碎簡的婚紗。
  
  簡悲痛欲絶地離開了桑費爾德莊園。她的僅有的積蓄花光了,沿途乞討,最後暈倒在牧師聖約翰傢門前,被聖約翰和他的兩個妹妹救了。簡住了下來,聖約翰為她謀了一個鄉村教師的職位。
  
  不久,聖約翰接到家庭律師的通知,說他的舅舅約翰簡去世了,留給簡二萬英鎊,要聖約翰幫助尋找簡。聖約翰發現簡是他的表妹,簡執意要與他們分享遺産。聖約翰準備去印度傳教,臨行前嚮簡求婚,但他坦率地告訴她,他要娶她並不是因為愛她,而是他需要一個很有教養的助手。簡覺得應該報答他的恩情,但遲遲不肯答應他。當夜,聖約翰在荒原上等待簡的答復,就在簡要作出决定的時候,她仿佛聽到羅徹斯特在遙遠的地方呼喊她的名字“簡,回來吧!簡,回來吧!”她决定回到羅徹斯特身邊。
  
  當簡回到桑費爾德莊園時,整個莊園變成一片廢墟。原來幾個月前,在一個風雨交加的夜晚,瘋女人伯莎放火燒毀了整個莊園,羅徹斯特為了救她,被燒瞎了雙眼,孤獨地生活在幾英裏外的一個農場裏。簡趕到傢場,嚮他吐露自己的愛情,他們終於結婚了。 兩年之後,治好了羅徹斯特的一隻眼睛,他看到了簡為他生的第一個孩子。
  《簡·愛》-小說評價
  
  《簡·愛》是一本具有多年歷史的文學著作。至今已152年的歷史了,它成功地塑造了英國文學史中第一個對愛情、生活、社會以及宗教都采取了獨立自主的積極進取態度和敢於鬥爭、敢於爭取自由平等地位的女性形象。
  
  《簡·愛》是一部帶有自轉色彩的長篇小說,是英國十九世紀著名三姐妹作傢之一的夏洛蒂·勃朗特所著。這是一本用自己的心與強烈的精神追求鑄煉成的一本書,含着作者無限的情感和個性魅力,為女性贏得了一片燦爛的天空。
  
  簡. 愛生存在一個父母雙亡,寄人籬下的環境,從小就承受着與同齡人不一樣的待遇,姨媽的嫌棄,表姐的蔑視,表哥的侮辱和毒打。這是對一個孩子的尊嚴的無情踐踏,然而幸運的是在極其刻薄的寄宿學校的生活中,簡·愛遇到了一個可愛的朋友:海倫·彭斯,海倫溫順、聰穎和無比寬容的性格一直影響着簡.愛,使之以後面對種種睏難都不再屈服抱怨,懂得了愛和忠誠。
  
  在羅切斯特的面前,她從不因為自己是一個地位低賤的家庭教師而感到自卑,反而認為他們是平等的。不應該因為她是僕人,而不能受到別人的尊重。也正因為她的正直,高尚,純潔,心靈沒有受到世俗社會的污染,使得羅切斯特為之震撼,並把她看做了一個可以和自己在精神上平等交談的人,並且慢慢地深深愛上了她。這是簡·愛 告訴羅切斯特她必須離開的理由,但是從內心講,更深一層的東西是簡·愛意識到自己受到了欺騙,她的自尊心受到了戲弄,因為她深愛着羅切斯特,試問哪個女人能夠承受得住被自己最信任,最親密的人所欺騙呢?這樣一種非常強大的愛情力量包圍之下,在美好,富裕的生活誘惑之下,她依然要堅持自己作為個人的尊嚴,這是簡·愛最具有精神魅力的地方。
  
  小說設計了一個很光明的結尾--雖然羅切斯特的莊園毀了,他自己也成了一個殘廢,但我們看到,正是這樣一個條件,使簡·愛 不再在尊嚴與愛之間矛盾,而同時獲得滿足--她在和羅切斯特結婚的時候是有尊嚴的,同時也是有愛的。任何文學作品都是作者體驗生活的結晶,從書中多少可看出作者的影子。《簡·愛》也是如此,大量的細節可以在作者的生活中得到印證。當然 《簡·愛》並不是一本自傳,作者衹是把自己豐富的生活經歷融進了一部充滿想象力的文章裏。人們知道《簡·愛》是作者生活中的寫照,但又有多少人知道作者是在怎樣的情況下寫下《簡·愛》的呢。
  
  小說告訴我們,人的最美好的生活是人的尊嚴加愛,小說的結局給女主人公安排的就是這樣一種生活。雖然我覺得這樣的結局過於完美,甚至這種圓滿本身標志着浮淺,但是我依然尊重作者對這種美好生活的理想--就是尊嚴加愛,畢竟在當今社會,要將人的價值=尊嚴+愛這道公式付之實現常常離不開金錢的幫助。人們都瘋狂地似乎為了金錢和地位而淹沒愛情。在窮與富之間選擇富,在愛與不愛之間選擇不愛。很少有人會像簡這樣為愛情為人格拋棄所有,而且義無反顧。《簡·愛》所展現給我們的正是一種化繁為簡,是一種返樸歸真,是一種追求全心付出的感覺,是一種不計得失的簡化的感情,它猶如一杯冰水,淨化每一個讀者的心靈,同時引起讀者,特別是女性讀者的共鳴。


  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.
第一章
  那天,出去散步是不可能了。其實,早上我們還在光禿禿的灌木林中溜達了一個小時, 但從午飯時起(無客造訪時,裏德太太很早就用午飯)便颳起了鼕日凜冽的寒風,隨後陰雲 密佈,大雨滂沱,室外的活動也就衹能作罷了。
   我倒是求之不得。我嚮來不喜歡遠距離散步,尤其在冷颼颼的下午。試想,陰冷的薄暮 時分回得傢來,手腳都凍僵了,還要受到保姆貝茵的數落,又自覺體格不如伊麗莎、約翰和 喬治亞娜,心裏既難過又慚愧,那情形委實可怕。
   此時此刻,剛纔提到的伊麗莎、約翰和喬治亞娜都在客廳裏,簇擁着他們的媽媽。她則 斜倚在爐邊的沙發上,身旁坐着自己的小寶貝們(眼下既未爭吵也未哭叫),一副安享天倫 之樂的神態。而我呢,她恩準我不必同他們坐在一起了,說是她很遺憾,不得不讓我獨個兒 在一旁呆着。要是沒有親耳從貝茜那兒聽到,並且親眼看到,我確實在盡力養成一種比較單 純隨和的習性,活潑可愛的舉止,也就是更開朗、更率直、更自然些,那她當真不讓我享受 那些衹配給予快樂知足的孩子們的特權了。
   “貝茵說我幹了什麽啦?”我問。
   “簡,我不喜歡吹毛求疵或者刨根究底的人,更何況小孩子傢這麽跟大人頂嘴實在讓人 討厭。找個地方去坐着,不會和氣說話就別張嘴。”
   客廳的隔壁是一間小小的餐室,我溜了進去。裏面有一個書架。不一會兒,我從上面拿 下一本書來,特意挑插圖多的,爬上窗臺,縮起雙腳,像土耳其人那樣盤腿坐下,將紅色的 波紋窗簾幾乎完全拉攏,把自己加倍隱蔽了起來。
   在我右側,緋紅色窗幔的皺褶檔住了我的視綫;左側,明亮的玻璃窗庇護着我,使我既 免受十一月陰沉天氣的侵害,又不與外面的世界隔絶,在翻書的間隙,我擡頭細看鼕日下午 的景色。衹見遠方白茫茫一片雲霧,近處濕漉漉一塊草地和受風雨襲擊的灌木。一陣持久而 凄厲的狂風,驅趕着如註的暴雨,橫空歸過。
   我重又低頭看書,那是本比尤伊剋的《英國鳥類史》。文字部份我一般不感興趣,但有 幾頁導言,雖說我是孩子,卻不願當作空頁隨手翻過。內中寫到了海鳥生息之地;寫到了衹 有海鳥棲居的“孤零零的岩石和海岬”;寫到了自南端林納斯尼斯,或納斯,至北角都遍布 小島的挪威海岸:
   那裏,北冰洋掀起的巨大漩渦,咆哮在極地光禿凄涼約小島四周。而大西洋的洶涌波 濤,瀉入了狂暴的赫布裏底群島。
   還有些地方我也不能看都不看,一翻而過,那就是書中提到的拉普蘭、西伯利亞、斯匹 次卑爾根群島、新地島、冰島和格陵蘭荒涼的海岸。“廣袤無垠的北極地帶和那些陰凄凄的 不毛之地,宛若冰雪的儲存庫。千萬個寒鼕所積聚成的堅冰,像阿爾卑斯山的層層高峰,光 滑晶瑩,包圍着地極,把與日俱增的嚴寒匯集於一處。”我對這些死白色的地域,已有一定 之見,但一時難以捉摸,仿佛孩子們某些似懂非懂的念頭,朦朦朧朧浮現在腦際,卻出奇地 生動,導言中的這幾頁文字,與後面的插圖相配,使兀立波濤中的孤岩,擱淺在荒涼 海岸上的破船,以及透過雲帶俯視着沉船的幽幽月光,更加含義雋永了。
   我說不清一種什麽樣的情調彌漫在孤寂的墓地:刻有銘文的墓碑、一扇大門、兩棵樹、 低低的地平綫、破敗的圍墻。一彎初升的新月,表明時候正是黃昏。
   兩艘輪船停泊在水波不興的海面上,我以為它們是海上的鬼怪。
   魔鬼從身後按住竊賊的背包,那模樣實在可怕,我趕緊翻了過去。
   一樣可怕的是,那個頭上長角的黑色怪物,獨踞於岩石之上,遠眺着一大群人圍着絞 架。
   每幅畫都是一個故事、由於我理解力不足,欣賞水平有限,它們往往顯得神秘莫測,但 無不趣味盎然,就像某些鼕夜,貝茜碰巧心情不錯時講述的故事一樣。遇到這種時候,貝茵 會把燙衣桌搬到保育室的壁爐旁邊,讓我們圍着它坐好。她一面熨裏德太太的網眼飾邊,把 睡帽的邊沿燙出褶襇來,一面讓我們迫不及待地傾聽她一段段愛情和冒險故事,這些片段取 自於古老的神話傳說和更古老的歌謠,或者如我後來所發現,來自《帕美拉》和《莫蘭伯爵 亨利》。
   當時,我膝頭攤着比尤伊剋的書,心裏樂滋滋的,至少是自得其樂,就怕別人來打擾。 但打擾來得很快,餐室的門開了。
   “噓!苦惱小姐!”約翰·裏德叫喚着,隨後又打住了,顯然發覺房間裏空無一人。
   “見鬼,上哪兒去了呀?”他接着說。“麗茜!喬琪!”(喊着他的姐妹)“瓊不在這 兒吶,告訴媽媽她竄到雨地裏去了,這個壞畜牲!”
   “幸虧我拉好了窗簾,”我想。我真希望他發現不了我的藏身之地。約翰·裏德自己是 發現不了的,他眼睛不尖,頭腦不靈。可惜伊麗莎從門外一探進頭來,就說:
   “她在窗臺上,準沒錯,傑剋。”
   我立即走了出來,因為一想到要被這個傑剋硬拖出去,身子便直打哆嗦。
   什麽事呀?”我問,既尷尬又不安。
   “該說,什麽事呀,裏德‘少爺?’”便是我得到的回答。“我要你到這裏來,”他在 扶手椅上坐下,打了個手勢,示意我走過去站到他面前。
   約翰·裏德是個十四歲的小學生,比我大四歲,因為我纔十歲。論年齡,他長得又大又 胖,但膚色灰暗,一付病態。臉盤闊,五官粗,四肢肥,手膨大。還喜歡暴飲暴食,落得個 肝火很旺,目光遲鈍,兩頰鬆弛。這陣子,他本該呆在學校裏,可是他媽把他領了回來,住 上—、兩個月,說是因為“身體虛弱”。但他老師邁爾斯先生卻斷言,要是傢裏少送些糕點 糖果去,他會什麽都很好的,做母親的心裏卻討厭這麽刻薄的話,而傾嚮於一種更隨和的想 法,認為約翰是過於用功,或許還因為想傢,纔弄得那麽面色蠟黃的。
   約翰對母親和姐妹們沒有多少感情,而對我則很厭惡。他欺侮我,我,不是一周三 兩次,也不是一天一兩回,而是經常如此。弄得我每根神經都怕他,他一走運,我身子骨上 的每塊肌肉都會收縮起來。有時我會被他嚇得手足無措,因為面對他的恐嚇和欺侮,我無處 哭訴。傭人們不願站在我一邊去得罪他們的少爺,而裏德太太則裝聾作啞,兒子打我駡我, 她熟視無睹,儘管他動不動當着她的面這樣做,而背着她的時候不用說就更多了。
   我對約翰已慣於逆來順受,因此便走到他椅子跟前。他費了大約三分鐘,拼命嚮我伸出 舌頭,就差沒有綳斷舌根。我明白他會馬上下手,一面擔心挨打,一面凝視着這個就要動手 的人那付令人厭惡的醜態。我不知道他看出了我的心思沒有,反正他二話沒說,猛然間狠命 揍我。我一個踉蹌,從他椅子前倒退了一兩步纔站穩身子。
   “這是對你的教訓,誰叫你剛纔那麽無禮跟媽媽頂嘴,”他說,“誰叫你鬼鬼祟祟躲到 窗簾後面,誰叫你兩分鐘之前眼光裏露出那付鬼樣子,你這耗子!”
   我已經習慣於約翰·裏德的謾駡,從來不願去理睬,一心衹想着加何去忍受辱駡以後必 然接蹤而來的毆打。
   “你躲在窗簾後面幹什麽?”他問。
   “在看書。”
   “把書拿來。”
   我走回窗前把書取來。
   “你沒有資格動我們的書。媽媽說的,你靠別人養活你,你沒有錢,你爸爸什麽也沒留 給你,你應當去討飯,而不該同像我們這樣體面人傢的孩子一起過日子,不該同我們吃一樣 的飯,穿媽媽掏錢給買的衣服。現在我要教訓你,讓你知道翻我們書架的好處。這些書都是 我的,連整座房子都是,要不過幾年就歸我了。滾,站到門邊去,離鏡子和窗子遠些。”
   我照他的話做了,起初並不知道他的用意。但是他把書舉起,拿穩當了,立起身來擺出 要扔過來的架勢時,我一聲驚叫,本能地往旁邊一閃,可是晚了、那本書己經扔過來,正好 打中了我,我應聲倒下,腦袋撞在門上,碰出了血來,疼痛難忍。我的恐懼心理已經越過了 極限,被其他情感所代替。
   “你是個惡毒殘暴的孩子!”我說。“你像個殺人犯——你是個奴隸監工——你像羅馬 皇帝!”
   我讀過哥爾斯密的《羅馬史》,時尼祿、卡利古拉等人物已有自己的看法,並暗暗作過 類比,但决沒有想到會如此大聲地說出口來。
   “什麽!什麽!”他大叫大嚷。“那是她說的嗎?伊麗莎、喬治亞娜,你們可聽見她說 了?我會不去告訴媽媽嗎?不過我得先——”
   他嚮我直衝過來,我衹覺得他抓住了我的頭髮和肩膀,他跟一個拼老命的傢夥扭打在一 起了。我發現他真是個暴君,是個殺人犯。我覺得一兩滴血從頭上順着脖子淌下來,感到一 陣熱辣辣的劇痛。這些感覺一時占了上風,我不再畏懼,而發瘋似地同他對打起來。我不太 清楚自己的雙手到底幹了什麽,衹聽得他駡我“耗子!耗子!”一面殺豬似地嚎叫着。他的 幫手近在咫尺,伊麗莎和喬治亞娜早已跑出去討救兵,裏德太太上了樓梯,來到現場,後面 跟隨着貝茜和女傭艾博特。她們我們拉開了,我衹聽見她們說:
   “哎呀!哎呀!這麽大的氣出在約翰少爺身上:”
   “誰見過那麽火冒三丈的!”
   隨後裏德太太補充說:
   “帶她到紅房子裏去,關起來。”於是馬上就有兩雙手按住了我,把我推上樓去。


  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.
第二章
  我一路反抗,在我,這還是破天荒第一次。於是大大加深了貝茜和艾博特小姐對我的惡 感。我確實有點兒難以自製,或者如法國人所說,失常了。我意識到,因為一時的反抗,會 不得不遭受古怪離奇的懲罰。於是,像其他造反的奴隸一樣,我橫下一條心,决計不顧一切 了。
   “抓住她的胳膊,艾博特小姐,她像一隻發了瘋的貓。”
   “真丟臉!真丟臉!”這位女主人的侍女叫道,“多可怕的舉動,愛小姐,居然打起小 少爺來了,他是你恩人的兒子:你的小主人!”
   “主人,他怎麽會是我主人,難道我是僕人不成?”
   “不,你連僕人都不如。你不幹事,吃白食。喂,坐下來,好好想一想你有多壞。”
   這時候她們已把我拖進了裏德太太所指的房間,推操到一條矮凳上,我不由自主地像彈 簧一樣跳起來,但立刻被兩雙手按住了。
   “要是你不安安穩穩坐着,我們可得綁住你了,”貝茜說,“艾博特小姐,把你的襪帶 藉給我,我那付會被她一下子綳斷的。”
   艾博特小姐轉而從她粗壯的腿上,解下那條必不可少的帶子。捆綁前的準備工作以及由 此而額外蒙受的恥辱,略微消解了我的激動情緒。
   “別解啦,”我叫道,“我不動就是了。”
   作為保證,我讓雙手緊挨着凳子。
   “記住別動,”貝茜說,知道我確實已經平靜下去,便鬆了手。隨後她和艾博特小姐抱 臂而立,沉着臉,滿腹狐疑地瞪着我,不相信我的神經還是正常似的。
   “她以前從來沒有這樣過,”末了,貝茜轉身對那位艾比蓋爾說。
   “不過她生性如此,”對方回答,“我經常跟太太說起我對這孩子的看法,太太也同 意。這小東西真狡猾,從來沒見過像她這樣年紀的小姑娘,有那麽多鬼心眼的。”
   貝茜沒有搭腔,但不一會便對我說:
   “小姐,你該明白,你受了裏德太太的恩惠,是她養着你的。要是她把你趕走,你就得 進貧民院了。”
   對她們這番活,我無話可說,因為聽起來並不新鮮。我生活的最早記憶中就包含着類似 的暗示,這些責備我賴別人過活的話,己成了意義含糊的老調,叫人痛苦,讓人難受,但又 不太好懂。艾博特小姐答話了:
   “你不能因為太太好心把你同裏德小姐和少爺一塊撫養大,就以為自己與他們平等了。 他們將來會有很多很多錢,而你卻一個子兒也不會有。你得學謙恭些,盡量順着他們,這纔 是你的本份。”
   “我們同你說的全是為了你好,”貝茜補充道,口氣倒並不嚴厲,“你做事要巴結些, 學得乖一點,那樣也許可以把這當個傢住下去,要是你意氣用事,粗暴無禮,我敢肯定,太 太會把你攆走。”
   “另外,”艾博特小姐說,“上帝會懲罰她,也許會在她耍啤氣時,把她處死,死後她 能上哪兒呢,來,貝茜,咱們走吧,隨她去。反正我是無論如何打動不了她啦。愛小姐,你 獨個兒呆着的時候,祈禱吧。要是你不懺悔,說不定有個壞傢夥會從煙囪進來,把你帶 走。”
   她們走了,關了門,隨手上了鎖。
   紅房子是間空餘的臥房,難得有人在裏面過夜。其實也許可以說,從來沒有。除非蓋茨 黑德府上偶而擁進一大群客人時,纔有必要動用全部房間。但府裏的臥室,數它最寬敞、最 堂皇了。—張紅木床赫然立於房間正中,粗大的床柱上,罩着深紅色錦緞帳幔,活像一個帳 篷。兩扇終日窗簾緊閉的大窗,半掩在清一色織物製成的流蘇之中。地毯是紅的,床腳邊的 桌子上鋪着深紅色的臺布,墻呈柔和的黃褐色,略帶粉紅。大櫥、梳妝臺和椅子都是烏黑發 亮的紅木做的。床上高高地疊着褥墊和枕頭,上面鋪着雪白的馬賽布床罩,在周圍深色調陳 設的映襯下,白得眩目。幾乎同樣顯眼的是床頭邊一把鋪着坐墊的大安樂椅,一樣的白色, 前面還放着一隻腳凳,在我看來,它像一個蒼白的寶座。
   房子裏難得生火,所以很冷;因為遠離保育室和廚房,所以很靜;又因為誰都知道很少 有人進去,所以顯得莊嚴肅穆。衹有女傭每逢星期六上這裏來,把一周內靜悄悄落在鏡子上 和傢具上的灰塵抹去。還有裏德太太本人,隔好久纔來一次,查看大櫥裏某個秘密抽屜裏的 東西。這裏存放着各類羊皮文件,她的首飾盒,以及她已故丈夫的肖像。上面提到的最後幾 句話,給紅房子帶來了一種神秘感,一種魔力,因而它雖然富麗堂皇,卻顯得分外凄清。
   裏德先生死去已經九年了,他就是在這間房子裏咽氣的,他的遺體在這裏讓人瞻仰,他 的棺材由殯葬工人從這裏擡走。從此之後,這裏便始終彌漫着一種陰森森的祭奠氛圍,所以 不常有人闖進來。
   裏德先生死去已經九年了,他就是在這間房子裏咽氣的,他的遺體在這裏讓人瞻仰,他 的棺材由殯葬工人從這裏擡走。從此之後,這裏便始終彌漫着一種陰森森的祭奠氛圍,所以 不常有人闖進來。
   貝茜和刻薄的艾博特小姐讓我一動不動坐着的,是一條軟墊矮凳,擺在靠近大理石壁爐 的地方。我面前是高聳的床,我右面是黑漆漆的大櫥,櫥上柔和、斑駁的反光,使鑲板的光 澤搖曳變幻。我左面是關得嚴嚴實實的窗子,兩扇窗子中間有一面大鏡子,映照出床和房間 的空曠和肅穆。我吃不準他們鎖了門沒有,等到敢於走動時,便起來看個究竟。哎呀,不 錯,比牢房鎖得還緊吶。返回原地時,我必須經過大鏡子跟前。我的目光被吸引住了,禁不 住探究起鏡中的世界來。在虛幻的映像中,一切都顯得比現實中更冷落、更陰沉。那個陌生 的小傢夥瞅着我,白白的臉上和胳膊上都蒙上了斑駁的陰影,在—切都凝滯時,唯有那雙明 亮恐懼的眼睛在閃動,看上去真像是一個幽靈。我覺得她像那種半仙半人的小精靈,恰如貝 茵在夜晚的故事中所描繪的那樣,從沼澤地帶山蕨叢生的荒𠔌中冒出來,現身於遲歸的旅行 者眼前。我回到丁我的矮凳上。
   這時候我相信起迷信來了,但並沒有到了完全聽憑擺布的程度,我依然熱血沸騰,反叛 的奴隸那種苦澀情緒依然激勵着我。往事如潮、在我腦海中奔涌,如果我不加以遏製,我就 不會對陰暗的現實屈服。
   約翰·裏德的專橫霸道、他姐妹的高傲冷漠、他母親的厭惡、僕人們的偏心,像一口混 沌的水井中黑色的沉澱物,一古腦兒泛起在我煩惱不安的心頭。
   為什麽我總是受苦,總是遭人白眼,總是讓人告狀,永遠受到責備呢?為什麽我永遠不 能討人喜歡?為什麽我盡力博取歡心,卻依然無濟於事呢?伊麗莎自私任性,卻受到尊敬; 喬治亞娜好使性子,心腸又毒,而且強詞奪理目空一切,偏偏得到所有人的縱容。她的美 貌,她紅潤的面頰,金色的捲發,使得她人見人愛,一俊便可遮百醜。至於約翰,沒有人同 他頂撞,更不用說教訓他了,雖然他什麽壞事都幹:捻斷鴿子的頭頸,弄死小孔雀,放狗去 咬羊,采摘溫室中的葡萄,掐斷暖房上等花木的嫩芽。有時還叫他母親“老姑娘”,又因為 她皮膚黝黑像他自己而破口大駡。他蠻橫地與母親作對,經常撕毀她的絲綢服裝,而他卻依 然是“她的寶貝蛋”。而我不敢有絲毫閃失,幹什麽都全力以赴,人傢還是駡我淘氣鬼,討 厭坯,駡我陰絲絲,賊溜溜,從早上駡到下午,從下午駡到晚上。
   我因為挨了打、跌了交,頭依然疼痛,依然流着血。約翰肆無忌憚地打我,卻不受責 備,而我不過為了免遭進一步無理毆打,反抗了一下,便成了衆矢之的。
   “不公呵,不公!”我的理智呼喊着。在痛苦的刺激下我的理智變得早熟,化作了一種 短暫的力量。决心也同樣鼓動起來,激發我去采取某種奇怪的手段,來擺脫難以忍受的壓 迫,譬如逃跑,要是不能奏效,那就不吃不喝,活活餓死。
   那個陰沉的下午,我心裏多麽惶恐不安!我的整個腦袋如一團亂麻,我的整顆心在反 抗:然而那場內心鬥爭又顯得多麽茫然,多麽無知啊!我無法回答心底那永無休止的問題— —為什麽我要如此受苦。此刻,在相隔——我不說多少年以後,我看清楚了。
   我在蓋茨黑德府上格格不入。在那裏我跟誰都不像。同裏德太太、她的孩子、她看中的 傢僕,都不融洽。他們不愛我,說實在我也一樣不愛他們。他們沒有必要熱情對待一個與自 已合不來的傢夥,一個無論是個性、地位,還是嗜好都同他們涇渭分明的異己;一個既不能 為他們效勞,也不能給他們增添歡樂的廢物;一個對自己的境界心存不滿而又蔑視他們想法 的討厭傢夥。我明白,如果我是一個聰明開朗、漂亮頑皮、不好侍候的孩子,即使同樣是寄 人籬下,同樣是無親無故,裏德太太也會對我的處境更加寬容忍讓;她的孩子們也會對我親 切熱情些;傭人們也不會一再把我當作保育室的替罪羊了。
   紅房子裏白晝將盡。時候已是四點過後,暗沉沉的下午正轉為凄涼的黃昏。我聽見雨點 仍不停地敲打着樓梯的窗戶,狂風在門廳後面的樹叢中怒號。我漸漸地冷得像塊石頭,勇氣 也煙消雲 散。往常那種屈辱感,那種缺乏自信、孤獨沮喪的情緒,澆滅了我將消未消的怒 火,誰都說我壞,也許我確實如此吧。我不是一心謀劃着讓自己餓死嗎?這當然是一種罪 過。而且我該不該死呢?或者,蓋茨黑德教堂聖壇底下的墓穴是個令人嚮往的歸宿嗎?聽說 裏德先生就長眠在這樣的墓穴裏。這一念頭重又勾起了我對他的回憶,而越往下細想,就越 害怕起來。我已經不記得他了,衹知道他是我舅父——我母親的哥哥——他收養了我這個襁 褓中的孤兒,而且在彌留之際,要裏德太太答應,把我當作她自己的孩子來撫養。裏德太太 也許認為自己是信守諾言的。而我想就她本性而論,也確是實踐了當初的許諾。可是她怎麽 能真心喜歡一個不屬於她傢的外姓、一個在丈夫死後同她已了卻一切幹係的人呢?她發現自 己受這勉為其難的保證的約束,充當一個自己所無法喜愛的陌生孩子的母親,眼睜睜看着一 位不相投合的外人永遠硬擠在自己的傢人中間。對她來說,這想必是件最惱人的事情了。
   紅房子裏白晝將盡。時候已是四點過後,暗沉沉的下午正轉為凄涼的黃昏。我聽見雨點 仍不停地敲打着樓梯的窗戶,狂風在門廳後面的樹叢中怒號。我漸漸地冷得像塊石頭,勇氣 也煙消雲 散。往常那種屈辱感,那種缺乏自信、孤獨沮喪的情緒,澆滅了我將消未消的怒 火,誰都說我壞,也許我確實如此吧。我不是一心謀劃着讓自己餓死嗎?這當然是一種罪 過。而且我該不該死呢?或者,蓋茨黑德教堂聖壇底下的墓穴是個令人嚮往的歸宿嗎?聽說 裏德先生就長眠在這樣的墓穴裏。這一念頭重又勾起了我對他的回憶,而越往下細想,就越 害怕起來。我已經不記得他了,衹知道他是我舅父——我母親的哥哥——他收養了我這個襁 褓中的孤兒,而且在彌留之際,要裏德太太答應,把我當作她自己的孩子來撫養。裏德太太 也許認為自己是信守諾言的。而我想就她本性而論,也確是實踐了當初的許諾。可是她怎麽 能真心喜歡一個不屬於她傢的外姓、一個在丈夫死後同她已了卻一切幹係的人呢?她發現自 己受這勉為其難的保證的約束,充當一個自己所無法喜愛的陌生孩子的母親,眼睜睜看着一 位不相投合的外人永遠硬擠在自己的傢人中間。對她來說,這想必是件最惱人的事情了。
   我忽然閃過一個古怪的念頭。我不懷疑—一也從來沒有懷疑過——裏德先生要是在世, 一定會待我很好。此刻,我坐着,一面打量着白白的床和影影綽綽的墻,不時還用經不住誘 惑的目光,瞟一眼泛着微光的鏡子,不由得憶起了關於死人的種種傳聞。據說由於人們違背 了他們臨終的囑托,他們在墳墓裏非常不安,於是便重訪人間,嚴懲發假誓的人,並為受壓 者報仇。我思忖,裏德先生的幽靈為外甥女的冤屈所動,會走出居所,不管那是教堂的墓 穴,還是死者無人知曉的世界,來到這間房子,站在我面前。我抹去眼淚,忍住哭泣,擔心 嚎啕大哭會驚動什麽不可知的聲音來撫慰我,或者在昏暗中召來某些帶光環的面孔,露出奇 異憐憫的神色,俯身對着我。這念頭聽起來很令人欣慰,不過要是真的做起來,想必會非常 可怕。我使勁不去想它,擡起頭來,大着膽子環顧了一下暗洞洞的房間。就在這時,墻上閃 過一道亮光。我問自己,會不會是一縷月光,透過百葉窗的縫隙照了進來?不,月光是靜止 的,而這透光卻是流動的。停晴一看,這光綫滑到了天花板上,在我頭頂上抖動起來。現在 我會很自然地聯想到,那很可能是有人提着燈籠穿過草地時射進來的光。但那會兒,我腦子 裏盡往恐怖處去想,我的神經也由於激動而非常緊張,我認為那道飛快掠過的光,是某個幽 靈從另一個世界到來的先兆。我的心怦怦亂跳,頭腦又熱又脹,耳朵裏呼呼作響,以為那是 翅膀拍擊聲,好像什麽東西已經逼近我了。我感到壓抑,感到窒息,我的忍耐力崩潰了,禁 不住發瘋似地大叫了一聲,衝嚮大門,拼命搖着門鎖。外面們廊上響起了飛跑而來的腳步 聲,鑰匙轉動了,貝茜和艾博特走進房間。
   “啊!我看到了一道光,想必是鬼來了。”這時,我拉住了貝茜的手,而她並沒有抽回 去。
   “她是故意亂叫亂嚷的,”艾博特厭煩地當着我的面說,“而且叫得那麽兇!要是真痛 得厲害,倒還可以原諒,可她衹不過要把我們騙到這裏來,我知道她的詭計。”
   “到底是怎麽回事?”一個咄咄逼人的聲音問道。隨後,裏德太太從走廊裏走過來,帽 子飄忽着被風鼓得大大的,睡袍悉悉簌簌響個不停。“艾博特,貝茜,我想我吩咐過,讓 簡·愛呆在紅房子裏,由我親自來過問。”
   “簡小姐叫得那麽響,夫人,”貝茵懇求着。
   “放開她,”這是唯一的回答。“鬆開貝茵的手,孩子。你盡可放心,靠這些辦法,是 出不去的,我討厭耍花招,尤其是小孩子,我有責任讓你知道,鬼把戲不管用。現在你要在 這裏多呆一個小時,而且衹有服服貼貼,一動不動,纔放你出來。”
   “啊,舅媽,可憐可憐我吧:饒恕我吧!我實在受不了啦,用別的辦法懲罰我吧!我會 憋死的,要是——”
   “住嘴!這麽鬧鬧嚷嚷討厭透了。”她無疑就是這麽感覺的。在她眼裏我是個早熟的演 員,她打心底裏認為,我是個本性惡毒、靈魂卑劣、為人陰險的貨色。
   貝茜和艾博特退了出去。裏德太太對我瘋也似的痛苦嚎叫很不耐煩,無意再往下談了, 驀地把我往後一推,鎖上了門。我聽見她堂而皇之地走了。她走後不久,我猜想我便一陣痙 攣,昏了過去,結束了這場吵鬧。


  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.
首頁>> 文學>> 外国经典>> 夏洛蒂·勃朗特 Charlotte Bronte   英國 United Kingdom   漢諾威王朝   (1816年四月21日1855年三月31日)