Relevance of the image of the protagonist of the novel by charlotte bronte “jane air. Lexico-stylistic devices Ш

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Lexico-stylistic techniques of S. Bronte in the creation of images in the novel "Jane Eyre"

Portraits of Jane Eyre

One of the main virtues of Jane Eyre is the creation of a positive image of the heroine. The novel attracted and amazed readers with the image of a brave and pure girl, alone, leading a difficult struggle for existence.

The image of Jane Eyre, like most other images, is built on the principle of contrast, which in this case consists in the fact that the writer contrasts the appearance of the heroine with her internal appearance... Creating the image of the heroine, Bronte set a goal for herself - in contrast to the generally accepted "beauty", which is usually depicted in literary works, to show a nondescript, but attractive due to her inner nobility heroine. In the book about Bronte, Gaskell quotes from the anonymous obituary, To the Death of Correl Bell, in which the author writes:

“Once she told her sisters that they were wrong, usually portraying their heroines as beautiful. They replied that it was impossible to make the heroine interesting in any other way. Her answer was: you will see that you are wrong: I will show you a heroine as ugly and small as myself, and she will be as interesting to the reader as yours. " 1

Jane's nondescriptness is constantly emphasized by the author in the speech of various characters, in the inner monologue, in the narration itself. So, the maid Abbott simply calls her a freak (such a little toad as that p. 39.). Rochester, when he first met her, says that she looks like a native of the other world (you have rather the look of another world), like a family

Rivers, she gives the impression of a pale, very ugly girl, devoid of charm (pallid ... not at alt handsome ... grace and harmony of beauty are quite wanting in those features).

Drawing the image of Jane, Bronte shows her as an extraordinary, thinking girl with a strong will and spiritual purity.

The characterization of Jane, as well as her appearance, we meet in the speech of other heroes and in the internal monologue. Already in the first chapters of the novel, where the author describes Jane's life in Reed's house, we can get an idea of the girl's character. From the statements of Mrs. Reed, her children, and mainly the servants. Thus, the servant Besi, who takes pity on the girl, considers her a strange child; she uses the word “thing” all the time about Jane, Little roving solitary thing ... a queer frightened shy little thing ... you little sharp thing ...(small, lonely creature ... strange, frightened, shy little creature ... you are a small, observant creature). Another maid in Reed's house, Abbott ( thing Fa -5).

The characteristics that the characters in the novel give Jane Eyre, to some extent, serve as a characteristic for themselves. Thus, Blanche's words about Jane are "creeping creature" (insignificance), "that person" (this person); The contemptuous tone in Blanche's speech is not accidental: it emphasizes the disdainful attitude of a spoiled aristocrat to a girl who lives by her own labor.

From the statements of the heroes about Jane, we learn about the traits of her character. Rosamond Oliver considers Jane to be calm, balanced, firm in her decisions, Saint-John, wanting to convince Jane that she has the qualities necessary for a missionary wife, says: "You are diligent, understanding, disinterested, truthful, constant and fearless." Essential to the characterization of Jane and the statements of Saint John and Rochester about her self-sacrifice. When Jane agrees to marry a blind cripple Rochester, the latter says that she "finds joy in the sacrifice."

(you delight in sacrifice). Saint-John expresses the same thought more sublimely: "... a soul that revelled in the flame and excitement of sacrifice" (a soul that experiences pleasure in the exhilarating flame of a sacrifice). In Saint John, this is due to Jane's attitude towards the inheritance, which she divided between him and his sisters; voluntarily giving money, in Saint-John's opinion, is a very big sacrifice, which is why he speaks about it so arrogantly.

A detailed description of Jane's appearance, associated with her character, we get through the monologue of Mr. Rochester. He disguised as a gypsy, Jen Eyre wonders: a flame flares up in her eyes; their gaze is transparent as dew, it is soft and full of feelings; these eyes are smiling; they are expressive; impression after impression is reflected in their depth; they are mocking, etc. Then he describes the mouth: ... he loves to laugh, he is ready to express everything that the mind prompts; it is a mouth that is ready to talk a lot and smile often, to express warm human feelings; but he will be silent about what the heart is experiencing. The forehead seems to be saying: "I can live alone if self-respect and circumstances require it." Rochestrer makes a general conclusion: “the forehead declares,` Reason sits firm and holds the reins, and will not let the feeling burst away and hurry her to wild chasms ... judgment hall still have the last word in every argument, and the casting vote in every decision. Strong wind, earthquake-shock, and fire may pass by: but I shall follow the guiding of that still small voice which interprest the dictates of cjnscience. " (this forehead declares: “the mind sits firmly in the saddle and holds the reins, and does not allow feelings to escape and drag it into the abyss ... I will follow the quiet voice that expresses the command of my conscience ”(vol. 1, p. 305).

When describing the appearance of the heroine, S. Bronte uses vocabulary of various emotional colors. So, speaking about the first impression that Jane made on the Rivers, she uses figurative means of expression and vocabulary that emphasizes serious condition heroines: comparisons as white as clay or death, expressions such as a mere specter, fleshless and haggard face ... very bloodless. Rochester, in describing Jane's appearance, also often resorts to comparisons: (you look like a nun, a little pale elf, a mustard seed, etc.). On the other hand, in the description of Jane's appearance, after she finds out that she is loved, the vocabulary of an evaluative order prevails: blooming, smiling, truly pretty, sunny-faced girl, dimpled cheeks, blissful mood, radiant hazel eyes, etc. (blooming, smiling, truly pretty, radiant girl, dimpled cheeks, blissful state, radiant brown eyes). As we can see, Bronte constantly connects the description of the heroine's appearance with her inner state and achieves this using the appropriate vocabulary and figurative expressions.

Gradually, in the course of the story, Bronte continues to reveal the character traits of his heroine, moreover, the same trait is perceived differently by different characters. So, for example, Elena Burns, condemns Jane for impulsiveness and passion, and Rochester calls her “a confident, independent creature, fragile in appearance, but unbending inwardly, freedom-loving and persistent in achieving her goal. What was unacceptable in her for humble Elena were precisely the qualities that Rochester loved in her and Saint John appreciated.

The spirit of protest and independence makes itself felt in the relationship of Jane Eyre with a loved one. Exhausted by the strange, bizarre game that her master is playing with her, Jane is, in fact, the first to tell him of her love, which was unheard of and unacceptable in a Victorian novel. Jane's declaration of love itself takes on the character of a bold declaration of equality. "Or do you think that I am an automaton, an insensitive machine? .. I also have a soul, like yours, and the same heart ... I am talking to you now, disdaining customs and conventions and even discarding everything earthly ...".

As already noted, the novel is narrated in the first person. The tradition of such a narrative originates in the 18th century, at a time when the attention of writers begins to be attracted by the psychology of the hero. In the analyzed novel, this form of narration, as well as other features artistic method, contributes to a deeper disclosure of the psychology of the heroes.

In the analyzed novel, this form of narration, as well as other features of the artistic method, contribute to a deeper disclosure of the psychology of the heroine. In the form of an internal monologue, Jane's reflections on the morals of the people around her, norms of behavior, her own aspirations and experiences are given. It should be noted that the thoughts of Charlotte Bonte herself are often expressed in the inner monologue.

In Jane Eyre, inner speech is one of the main means of characterizing the heroine. The inner monologue in the novel is very emotional. Some elevation of style in the heroine's inner monologue is achieved by using book vocabulary and complex syntax 1. The most characteristic in the novel is the reflection of the heroine in the form of a conversation between two voices. So, for example, after her failed marriage to Rochester, the author describes in detail Jane's experiences. Her hesitations, agonizing thoughts about her later life given in the form of a dialogue between reason and feeling. The following passage is not only one of the most striking examples of this form of inner speech, but it also seems characteristic of the style of Bronte's inner monologues in general.

Some time in the afternoon I raised my head and… asked `What am I to do?`

But the answer my mind gave -`Leave Thornfield at once` - was so prompt, so dread, that I stopped my ears: I said, I could not bear such world now. `that I am not Edward Rochester bride is the least part of my woe,` I alleged: `that I have wakened out of most glorious dreams, and found them all void and vain, is a horror I could bear and master; but that I must leave him decidedly, instantly, entirely, is intorable. I cannot do it. "

But, then, a voice within me averred that I could do it, and foretold that I should do it. I wresfled with my own resolution: I wanted to be weak ... but conscience, turned tyrant, held passion by the throat, told her tauntingly, she had yet but dipped her dainty foot in the slough, and swore that with that arm of iron, he would thrust her down to unsounded depths of agony.

`Let me be torn away, then! `I cried. `Let another help me!`

`No; you shall tear yourself away, none shall help you: you shall, yourself, pluck out your right eye: yourself cut off your right hand: your heart shall be the victim; and you, the priest to transfix it.

The emotionality with which Jane's experiences are conveyed is achieved here by various stylistic means of expression. First of all, it is a form of “polemic dialogue between reason and feeling, actually expressing internal strife heroine, and this internal dialogue is commented on by the heroine herself. In the dialogue itself, the voice of “feeling” merges with the voice of the heroine, the voice of “reason”, although it opposes her desires, wins - Jane leaves Thornfield Castle. The entire passage is somewhat elevated: this is facilitated by the use of words of a book-literary nature ( dread-scary, terrible, allege- approve, aver- prove slough- swamp).

“A ridge of lighted heath, alive, glancing, devouring, would have been a meet emblem of my mind when I accused and menaced Mrs. Reed: the same ridge, black and blasted after the flames are dead, would have represented as meetly my subsequent condition. "

“Glorious discovery to a lonely wretch! This was wealth indeed! Wealth to the heart!

2. Lexico-stylistic devices of S. Brontein the creation of images in the novel "Jane Eyre"

2.1 Portrait image Jane Eyre

Jane Eyre's image, t

Just like most other images, it is built on the principle of contrast, which in this case consists in the fact that the writer opposes the appearance of the heroine to her internal appearance. Creating the image of the heroine, Bronte set a goal for herself - in contrast to the generally accepted "beauty", which is usually depicted in literary works, to show a nondescript, but attractive due to her inner nobility heroine. In the book about Bronte, Gaskell quotes from the anonymous obituary, To the Death of Correl Bell, in which the author writes:

Rivers, she gives the impression of a pale, very ugly girl, devoid of charm (pallid ... not at alt handsome ... grace and harmony of beauty are quite wanting in those features).

Drawing the image of Jane, Bronte shows her as an extraordinary, thinking girl with a strong will and spiritual purity.

The characterization of Jane, as well as her appearance, we meet in the speech of other heroes and in the internal monologue. Already in the first chapters of the novel, where the author describes Jane's life in Reed's house, we can get an idea of the girl's character. From the statements of Mrs. Reed, her children, and mainly the servants. Thus, the servant Besi, who takes pity on the girl, considers her a strange child; she uses the word “thing” all the time about Jane, Little roving solitary thing… a queer frightened shy little thing… you little sharp thing… (small, lonely creature ... strange, frightened, shy little creature ... you are a small, observant creature). Another maid in Reed's house, Abbott ( thing Fa -5).

When describing the appearance of the heroine, S. Bronte uses vocabulary of various emotional colors. So, speaking about the first impression that Jane made on the Rivers, she uses figurative means of expression and vocabulary that emphasizes the difficult state of the heroine: comparisons as white as clay or death (pale as chalk or death), expressions such as a mere specter (just a ghost ), fleshless and haggard face ... very bloodless (haggard, haggard face ... completely bloodless). Rochester, in describing Jane's appearance, also often resorts to comparisons: (you look like a nun, a little pale elf, a mustard seed, etc.). On the other hand, in the description of Jane's appearance, after she finds out that she is loved, the vocabulary of an evaluative order prevails: blooming, smiling, truly pretty, sunny-faced girl, dimpled cheeks, blissful mood, radiant hazel eyes, etc. (blooming, smiling, truly pretty, radiant girl, dimpled cheeks, blissful state, radiant brown eyes). As we can see, Bronte constantly connects the description of the heroine's appearance with her inner state and achieves this using the appropriate vocabulary and figurative expressions.

(1936-1937)

Creator: Charlotte Bronte Works: Jane Eyre Floor: female Nationality: Englishwoman Age: 10, 18, ~28 A family: father- Mr. Eyre;
mother- Mrs. Eyre (in virgin Reed);
uncle- John Eyre and Mr. Reed;
step-aunt- Sarah Reed (in virgin Gibson);
cousins / sisters- Saint John, Diana and Mary Rivers,
as well as John, Eliza and Georgiana Reed;
spouse- Edward Rochester Children: a son The role is performed by: Katharine Hepburn
Virginia Bruce
Joan Fontaine
Suzanne York
Sorcha Cusack
Zila Clark
Charlotte Gainsbourg
Samantha Morton
Ruth Wilson
Mia Wasikowska
etc.

Appearance

Jane Eyre is described as an inconspicuous young girl, outwardly resembling an unearthly creature, an elf. She considers herself "poor, nondescript and small." Mr. Rochester once reveals that she has brown eyes, but in fact, Jane has green ones.

Biography

Childhood

Jane's parents, Mr. and Mrs. Eyre, passed away shortly after the birth of their daughter. The girl was adopted by the mother's brother, Mr. Reed. On his deathbed, he made his wife Sarah swear to take care of her niece, which was a real punishment for Mrs. Reed, because her aunt disliked her from the first minute she appeared in the house. After her uncle's death, Jane's life in the Reeds' house became unbearable: constant humiliations, insults and clashes with her cousin John and sisters Eliza and Georgiana, who were encouraged by her aunt.

At the age of ten, the aunt sends her unloved niece out of sight, or rather, to the Lowood orphanage school. The school mentor, Mr. Brocklehurst, adores sanctimonious teachings about the benefits of humility of the flesh and does not care about the fact that girls are constantly hungry and freezing. There Jane finds her first friend, Helen Burns.

In the spring, a typhus epidemic breaks out in the orphanage and the girls, weakened by their health, die one by one, including Helen. Before she dies, a friend says to Jane: "I believe and hope: I am going to God." These words and the pacification with which Helen accepts her imminent demise greatly influence the Christian perception of the girl's world.

Jane has been in Lowood for eight years, the last two years as a teacher.

Youth

Jane has grown. Headmistress Miss Temple, who has been the girl's only friend all these years, is getting married and leaving Lowood. Miss Eyre advertises a job and gets a job as governess at the Thornfield estate. She assumes that she will teach daughter (Adele Varens) Mrs. Fairfax, but learns that she is only a housekeeper, a housekeeper, and the owner is a certain Mr. Edward Rochester. Mrs. Fairfax warns Jane that the owner is rarely at home and she will not see him often.

Jane first meets Rochester while walking outside the estate in the coming dusk. Not seeing the girl because of the fog and trying not to crush her by the horse, the owner of the house falls from the horse and injures his ankle. Jane helps him get to the horse, although then she does not yet know what kind of man he is. Only after returning from a walk, Jane learns that it was Rochester. The landlord jokingly claims that Miss Eyre is the witch who bewitched his horse.

Jane realizes that she has feelings for the owner of the estate, the same thing happens with Rochester. A declaration of love follows, and then preparation for the wedding. However, just before the altar, the girl will have to find out that her chosen one is already married. His lawful wife, Bertha, is a third-generation violent madman. Rochester desperately tells Jane his story family life with Bertha - only after the marriage did Edward learn about mental illness beloved. Then he decided to protect her from her, placing in the attic and attaching the overseer Grace Poole.

If Mr. Rochester had married his current sweetheart, he would have become a bigamist. However, Jane has a sense of her own dignity and does not agree to be a mistress. Under cover of night, a desperate girl escapes from a person dear to her heart. Jane wanders for several days before falling exhausted to the steps of the house, where she, barely alive, is picked up by the young priest of St. John Rivers. The pastor's sisters, Mary and Diana, are nursing the girl. When forces return to her, Miss Eyre gets a job as a teacher at a local rural school and hides under the name Jane Elliot.

Saint John loves local girl Rosamund Oliver, but overcomes his passion for the young beauty, claiming that she would not be a good wife for a missionary (who he is going to be). Later, the priest discovers true name Jane and tells her that her deceased uncle John Eyre (who lived in Madeira) left her an inheritance of twenty thousand pounds, and the Rivers mother is John Eyre's sister, and then he, Mary and Diana are Jane's cousins and sisters. Terribly delighted by the sudden relationship, Jane divides the inheritance equally. All this time, St. John is closely watching his newfound sister. Shortly before leaving, the pastor asks Jane to marry him, because she, like no one else, is suitable for the role of a missionary's wife. After some resistance, Jane agrees to go with him to India, but not to become his wife. However, this does not suit Rivers and he almost persuades her when at the last moment she hears Rochester's voice from somewhere calling her - "Jane, Jane, Jane." The girl knows nothing about the fate of her beloved and, wanting to see him, quickly returns back to Thornfield. But on the site of the once majestic estate, only blackened stones remained. As Jane later finds out, shortly after her disappearance, Bertha set fire to the house, and she jumped off the roof. Trying to save his wife, Rochester went blind and lost his left hand. Having found out his new place of residence, she immediately goes there and finds her beloved in a depressed state of mind.

Jane and Edward are reunited. Finally, the couple is playing a wedding. And after two years, vision partially returns to the spouse and he can see his first-born.

Literature

Charlotte Bronte"Jen Eyre" = Jane Eyre. - Eksmo, 2008. - (Foreign classics). - ISBN 978-5-699-12993-5

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Jane Eyre is a socio-psychological parenting novel. Consistently revealing the spiritual evolution of the heroine, telling about the formation of a whole, proud and strong character of Jane. The novel is often called autobiographical, although the faces and events depicted in it are not directly related to the life of the author. Jen Eyre's life story is a product of fiction, but the world of her inner experiences is certainly close to S. Bronte. The narrative, coming from the heroine's face, has a pronounced lyrical coloration. And although Bronte herself, unlike her heroine, who from early childhood knew all the bitterness of orphanhood and someone else's bread, grew up in a large family, surrounded by her brother and sisters - artistic natures, subtle, she, like D.E., was destined outlive all your loved ones. S. Bronte passed away at the age of thirty-nine, having buried her brother and sisters, never knowing the joys of marriage and motherhood, which she so generously endowed her literary heroine.

“I remember a quivering, fragile creature, a small palm, big black eyes. Perhaps, main feature her character was ardent honesty, wrote her favorite author UM about Charlotte Brontë. Thackeray, to whom she dedicated the second edition of her novel. She judged her contemporaries, capturing arrogance and falsity in them with special sensitivity. A great sacred respect for truth and justice has always lived in her soul. "

This portrait reveals not only the features of S. Bronte, but also the heroine she created. In Jen Eyre we find the same rigidity, honesty, moral rigor. The heroine's words: “Women experience the same as men; they have the same need to show their abilities and look for a field of activity for themselves, as their male counterparts; forced to live under the harsh yoke of traditions, in an inert environment, they suffer in exactly the same way as men would suffer in their place ”- sound like the author's credo and the key to reading the novel.

Romance and "Gothic", on the one hand, almost painful eroticism, on the other, were generated by the very theme and attitude towards it Bronte: a description of Jane's tremendous feelings for Rochester - tense to the last limit, almost frantic, the choice of a hero with an extraordinary destiny, passionate, gloomy and, as it might seem at first, doomed.

Jane's feelings for Rochester go through a crucible of terrible trials, but get a happy ending. Hence the substitution of the desired in the finale of the existing, and this "wishful thinking" should have pushed Bronte to appeal to romantic models. She could not write Jane's love story for Rochester, especially Rochester's love for Jane, without betraying her realistic method and realistic writing.

The second theme - although inextricably linked with the first - was created by the Bronterealist, the Bronte who admired Thackeray as an unsurpassed master of realism and strove to emulate him. Real people England in the middle of the 19th century and the characters typical for various strata of society - that broad "background" on which the story of romantic feelings unfolds the main character novel.

It is impossible to separate the romantic from the real in Jane Eyre: the book is perceived in its artistic unity, and this unity is its strength. But it is very important to understand the formation of a bizarre fusion of two pathos, two very different tendencies in the book.

"Shooting off the target" still occurs in some English-language works, - V. Ivasheva notes, - when declaring a novel realistic, they turn a blind eye to the variety of stylistic keys in which it is written, or considering it romantic, they do not see the power of a realistic layer in it ... Even the "implausibility", in which the author was repeatedly reproached, is comprehended according to the law of realistic art, which does not reject the imagination. Brontë understood realism in her own way and wrote on the basis of her own aesthetic principles, already established by the mid-40s.

"Jane Eyre" is built according to the compositional laws of the "parenting novel". Everything that happens to Jane Eyre ”- episodes in the life evolution of the heroine, coming through struggle, suffering and difficulties to the comprehension of duty, and from this comprehension to happiness.

The first stage of Jane's life upbringing (a child born as a result of a marriage disagreeable to the family of the mother's rich parents), her stay in the house of Miss Reed's aunt - a wealthy aristocrat, obsessed with aristocratic traditions, but above all else loving money, finally, Jane's rebellion against Mrs. Reed and the subsequent expulsion of the girl from the Reed house. The first stage of Jane's upbringing ends with the placement of the heroine in Lockwood, a boarding school for orphans of poor priests. This episode also ends in a riot: Jane leaves the prison school and finds a place as a governess.

From the moment Jane arrived at Rochester Castle, the third - and the main for the author - episode of the novel begins - Thornfield.

Everything about the Thornfield episode is "implausible," Brontë chided Walter Allen. For all the shrewdness of the critic, in this case he simplifies matters. The last thing Brontë was looking for in this part was believability. Almost all images associated with Thornfield are deliberate exaggeration, satirical, and sometimes romantic hyperbole. Brontë changes both the method of depiction and the emotional key of the story. All eighteen chapters, i.e. most of the novel, almost entirely fits into the picture of a romantic novel, partly even a "Gothic" one. Romantic pathos prevails both in the narrative and in conveying Rochester's growing feelings for Jane Eyre and Jen for Rochester. Its allegorical accompaniment is also romantic: Jane's dreams, a tree shattered by lightning, and the like.

In Jen Eyre, there is a high romance in the portrayal of feelings, which gives a peculiar charm to this book and is integral to its free-spirited rebellious spirit. But the novel is also not free from naive traditional romantic clichés. The grim image of Rochester's mad wife and the mysterious events at his castle are reminiscent of the 18th century Gothic novels that the Bronte sisters read.

The writer reinterprets some of the typically romantic elements in other situations. Take Rochester's “voice episode,” for example. The voice that calls Jane from afar and to which she obeys (in chapter XXXV) is perceived differently today than it was perceived a hundred, even fifty years ago. It is curious that reproducing a typical case of telepathic transmission, Bronte a hundred years before such phenomena became the subject of scientific study, wrote "This is not a deception of the senses and not witchcraft - this is just an unsolved phenomenon of Nature (the work of Nature)."

Thus, we can say that in the work of Charles Bronte, a special mobility of the ideological and aesthetic boundary between romanticism and realism was manifested. This feature also manifested itself in those artistic and stylistic means that she used in portraits of her characters.

Specificity verbal portrait, like a portrait in painting, is conditioned, first of all, by a direct appeal to the individuality of a certain person. Reliability, or as they say, portrait likeness is an integral part of the genre. This similarity is revealed in the correspondence of the recreated image to the original, living nature, which is perceived by the writer as an artistic whole, as an independent and in its own way complete plot for verbal depiction.

It is in the holistic image of a person's individuality, the uniqueness of his "face", thinking, which are manifested both in his character, behavior, language, and in his biography, creative activity, various signs of individual being, reflecting the spiritual world of the person being recreated, that the aesthetic essence is revealed genre of literary portrait.

Charlotte Brontë proved herself to be a master of literary portraiture. Her work is distinguished by carefulness in the choice of words and phrases used for the external characterization of images, but the main task, which she brilliantly solved, was still to show the inner world of the people she drew: to this task she subordinated everything else - noted Earl Nice.

When deciding characters, Bronte resorted to various methods of writing, striving for the most expressive reproduction of the typical for this or that personality. In some cases, she deliberately exaggerates (Blanche Ingram and her mother Lady Ingram), in others she adheres to a strict reproduction of the life "norm" (trustee Brocklehurst, Priest Rivers).

The reader receives a scanty portrait of Brocklehurst's appearance. He is tall and thin. His coat is buttoned up with all the buttons. However, the image of the trustee is revealed through dialogue and without any commentary from the author. Brocklehurst's "system" of pedagogical views is revealed with great fullness in the episode where he orders a girl who has naturally curly hair to be shaved off her head. There is not a single comment by the author, only a few, as if in passing, thrown phrases showing the teacher's reaction to the order of the chief: Temple "runs a handkerchief over her lips, as if erasing an involuntary smile."

The local nobility, who gathered in the Rochester house, is drawn in a different way. Here the sting of her satire is sharper, intonation becomes more caustic and hyperbolization is used. Blanche Ingram calls Lady Ingram "lady mother", and she answers her daughter, calling her nothing other than "my soul", then "my best" (mi best), then my lily of the valley (mi lily), these ridiculous in the mouths of well-bred ladies the epithets are not "ignorance of life", but a deliberate appeal to the grotesque.

But Bronte does not often resort to the methods of the grotesque. In most cases, when deciding characters and painting portraits, she prefers direct realistic reflection. There are many different shades on her palette. So, the portrait of Rivers is given in completely different colors than the sharply caricatured drawing of Brocklehurst. The shades are thinner, the selection of words is richer and fuller.

Question figurative system works of art enters the circle of the most important for literary criticism. It affects the features of the image of the relationship and interaction of heroes, their influence on plot development text, and also plays an important role in disclosing the author's intention. Literary space"Artistic image" is the most important category works that serve as the basis of any literary text. Artistic image can be modified in various forms: images-details, landscapes, interiors and others. The most important object of reflection of reality is the image of a person.

In the literary encyclopedic dictionary of V.M. Kozhevnikov and P.A. light of his aesthetic ideal. It is worth noting that the image is characterized by the generalization of any features and properties inherent in the object. Process of creation literary image depends on the creative skill of the writer, the era of the creation of the text and various social, household, economic and cultural aspects the time in which the author lives and which is described in the text. The literary image is characterized by certain features that distinguish one hero from others similar to him in the context of one work, as well as from other typical characters of the same time. TO distinctive features include: the place and role of the hero himself in the work, his actions in relation to other characters, to nature, appearance and character, as well as the reader's opinion about the hero, formed when reading a literary text.

The writer S. Brontë created a gallery of images reflecting the peculiarities of life in England. The main character of the novel "Jane Eyre" also belongs to such images.

The works of Sh. Bronte were studied by Russian researchers: E.A. Sokolova, V.M. Bazilevich, M.S. Mikhailova, O. M. Peterson; as well as foreign ones: E.N. Bessarab, V. Wolfe, E. Gaskelli etc. Many researchers have addressed the image of Jane Eyre in their works, among whom one can single out E.E. Borunov, Yu. Geniev, Z.T. Civil, M.A. Gritschuk, W. Wolfe, W. Stevenson, E. Tyler and others.

The relevance of the work lies in studying the features of the image of the main character and determining the importance of such images for literature.

In the novel "Jane Eyre" S. Brontë raised important questions affecting social life... The themes of raising children and their education, justice and mercy, love and dedication are vividly presented. Each of the topics affects the formation of the character of the character and the events that took place in his life. Creating the type of a new heroine, the writer set herself the goal of creating an image of a nondescript girl who would be good with her inner qualities, upbringing, education and depth of soul. She embodied this image in the novel "Jane Eyre." ... They replied that it was impossible to make the heroine interesting in any other way. Her answer was: you will see that you are wrong: I will show you a heroine as ugly and small as myself, and she will be as interesting to the reader as yours. " The writer strove to create an image opposite to the generally accepted literary beauty.

Literary critic E.E. Borunova wrote about the educational potential of the novel by S. Bronte and argued that “in the image of the heroine, the writer embodied her ideas about modern woman, able to determine her life, to become not only a wife, but also to be realized in the public arena. In Victorian England, such a formulation of the problem was perceived as a manifestation of the extreme courage of the writer's views. No one of Brontë's contemporaries had an image like Jane Eyre. She was the bearer of a new type of self-awareness, spiritual education and morality. " The researcher singles out the type of the main character against the background of the era of the creation of the work and notes that the author has endowed her with features that are not characteristic of a girl of the 19th century. The novel "Jane Eyre" is a socio-psychological novel, on the pages of which the life collisions of the main character unfold.

Researcher E.Yu. Genieva noted that Jane Eyre - “ romantic heroine in non-romantic strata of society ”. This idea is confirmed by the writer W. Wolfe: “it is not always convenient to be Jane Eyre herself in all cases. First of all, it means constantly being a governess, and, moreover, in love, in a world where most people are not governesses and are not in love. " The sensitivity of the soul of a young girl is immersed in everyday circumstances that constantly force the heroine to make important decisions.

The image of Jane Eyre is presented in a specific social setting. S. Bronte builds the peculiarities of the formation of Jane Eyre's character since childhood in order to focus the reader's attention on the specifics of situations that influenced the image of the girl and her character. The main fear of the little orphan girl is the red room where Miss Reed punished her. The heroine, leading her story, noted: “... it seems that until my death I could not forget the terrible incident in the red room,<…>nothing could soften the memory of that mortal fear that gripped my heart when Mrs. Reed rejected my fervent pleas for forgiveness and locked me a second time in a dark red room alone with a ghost. " The heroine was not looking for her consolation in people: “I always put a doll with me: every human being should love something, and, in the absence of more worthy objects of this feeling, I found joy in attachment to a shabby, cheap doll, rather like a small garden scarecrow... From childhood and adolescence, Jane felt that she did not deserve to be loved and desired. This belief was clearly reflected in her future relationship with Mr. Rochester. The man, admitting his love for his governess, said that “I have never met a creature more rugged and more invincible. This is due to the fact that Jane struggled with adversity and problems, but at the same time remained a girl with a sensitive and persistent mental organization.

Jane Eyre's character was also influenced by the Lowwood Orphanage. The harsh conditions of the educational institution formed the heroine's craving for knowledge, hard work and moral conviction in the need to be merciful.

One more main character of the novel, Mr. Rochester spoke of Lowood and his influence on Jane: “Eight years! Well, that means you are very tenacious. It seems to me that if you live there half of this time, you will undermine not such health. No wonder you look like a creature from another world. " Not only Rochester called Jane "the creature", but many other heroes of the novel. For example, the servant Bessie says she is "a small, lonely creature", "a strange, frightened, shy little creature", "a small, observant creature." With this word, the woman did not want to offend the girl, but to pity the child who is alone among people. We observe a different, negative treatment in Miss Abbott, for whom Jane is a "secretive creature." It is worth noting that unfriendly attitudes, loneliness and hard life did not form in the adolescent a negative opinion about the world and life. Let's highlight the features of the internal characteristics of Jane Eyre:

• striving for freedom and independence: "I am a free human being with an independent will";

High moral education: "Life is too short, and you should not waste it on nurturing enmity in your soul or remembering grievances";

• irascibility of character: “I do not know the middle in anything; and never in my relationships with people more powerful and firm, endowed with a character opposite to mine, I could not find a middle between complete obedience and decisive rebellion. I always honestly obeyed until the moment when there was an explosion of protest in me, sometimes directly with volcanic force ”;

· Synthesis of feelings and reason: “Feeling without reason is not a very nutritious food; but reason, not softened by feeling, is bitter and dry food and is not suitable for human consumption ”;

· Fear of loneliness and non-acceptance by the public: “... I understand, the main thing is to know that I am not to blame; but this is not enough: if no one loves me, it is better for me to die. I can’t bear the loneliness and hatred, Helen ”;

· Craving for drawing as a way to express your own feelings and thoughts: “- Did you feel happy when you painted these pictures? - suddenly asked me Mr. Rochester. - I was completely absorbed in them, sir; yes, I was happy. In short, when I painted them, I experienced the strongest joy in my life. "

Priest Saint John said that Jane Eyre was "diligent, understanding, disinterested, truthful, constant and fearless." He saw her as a companion and assistant, which characterizes her as a loyal friend. Being the wife of Mr. Rochester, the heroine says: “I have been married for ten years. I know what it means to live entirely for the person you love more than anything else. I consider myself infinitely happy, and my happiness cannot be expressed in any words, because my husband and I live for each other. No woman in the world belongs so completely to her husband. " This formulation characterizes the heroine as a responsible girl, deeply devoted to her lover.

With regard to the specifics of the external characteristics of the heroine, it is worth noting that her nondescript and not particularly attractive appearance is often mentioned in the expressions of other characters and in the internal monologue. When revealing the image of his heroine, Charles Bronte turns precisely to the inner monologue as a way to accurately recognize the emotional state of the heroine. Most often, this monologue is emotional, expressive, impetuous. For example, a young girl herself calls herself “poor, nondescript and small.” The author deliberately focuses on the non-flashiness of a young girl, in order to highlight the originality of her inner beauty. A detailed description of Jane's appearance, connected with the character of the girl, is given through the monologue of Mr. a flame flares up in her eyes; their gaze is transparent as dew, it is soft and full of feelings; these eyes are smiling; they are expressive; impression after impression is reflected in their depth; they are mocking. " Then he describes the mouth: “... he loves to laugh, he is ready to express everything that the mind prompts; it is a mouth that is ready to talk a lot and smile often, to express warm human feelings; but he will be silent about what the heart is experiencing. " These descriptive quotes reflect the emotional state of the heroine through her appearance, which is closely related to the character traits of the girl. It is worth noting that the author conducts even a description of the girl's appearance through her mores.

Many authors of domestic and foreign literature appealed to the image of Jane Eyre, which combined a pleasant human character and an unattractive appearance despite her neatness to everything. For example, Marya Bolkonskaya in the novel by L.N. The author describes Tolstoy "War and Peace" as follows: "It was not the dress that was bad, but the face and the whole figure of the princess." A similarity in the description of the heroine is also observed in the speech characteristic: "everyone only confirmed his belief that she was a very special and extraordinary being."

O. Henry in the story "Tildy's Debut" also resorts to the image of "small, plump, ugly", "with a button-nose and straw-colored hair", but who "was a good worker" and also a sensitive girl.

Thanks to this, we can conclude that the image of the main character of the novel "Jane Eyre" is relevant, because the writers paid attention to the type of unattractive girl with positive character traits.

Output. Thus, Jane Eyre's image was a new type of young girl for English literature, which was characterized by external nondescriptness and depth of the inner world. The image of the main character of the novel "Jane Eyre" is relevant, because earlier, as well as in modern literature, authors often turned to an image that synthesizes in itself opposite external and internal data.

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