Bronte’s use of strong imagery continues in her portrayal of “Thornfield”, which reveals shades of character not openly apparent. For example, when Jane first meets Mr Rochester, Bronte uses a number of subtle, descriptive language techniques in order to create the setting and atmosphere for Mr Rochester’s first appearance. Jane tells us that, “all sorts of fancies bright and dark tenanted my mind”, “I lingered till the sun went down amongst the trees and sank crimson and clear behind them”. The setting is unusual and unique, so, that makes it a more prominent and memorable meeting. It is as though the almost supernatural setting symbolises the sign (Mr Rochester), that Jane’s life is about to change dramatically, forever, “a rude noise broke out on these fine ripplings and whisperings”, “the man, the human being broke the spell at once”. The setting for this first encounter creates an immediate connection between the two people: it is such an odd place to meet someone i.e. at night in the woods, yet it seems like fate, “ something of daylight still lingered”, “I felt no fear of him, and but little shyness”, “ I had hardly ever seen a handsome youth; never in my life spoken to one”. Jane clearly does not feel inferior to him as they meet in a completely neutral and natural setting, so that they meet simply as fellow human beings. Additionally, the fact that Rochester does not reveal who he is, adds another layer of depth and mystery to his and Jane’s first encounter, and could be for a variety of different reasons.
The neutral setting in which they meet, means also that they may converse on the same level, without the restrictions of status and class. So, by asking her about her work and her employer, he is able to gain an unaltered, unprepared view of Jane herself, and her thoughts on Mr Rochester. As well as this, there are a number of supernatural elements within the setting in this passage that add depth to Jane’s first meeting with Mr Rochester. For example, as a result of being in this mysterious setting, Jane’s imagination is running wild, and when Rochester first appears to her on his horse, she sees him as some sort of a fantasy character. However, when she realises that he is not a “Gytrash….with pretercanine eyes”, but a human being, she is still drawn to him in some inexplicable way. Also, the eerie, almost supernatural setting in which they meet, adds an aura of mystery, and adds a number of different, hidden elements to their first impressions of each other. For example, the instantaneous attraction to one another, would have been less plausible and more difficult to convey had they met in more normal surroundings and in daytime.
Bronte continues her use of symbolism within the setting, in order to portray Jane’s feelings at the time of the fire at Thornfield. She creates an atmosphere of tension using language techniques such as tri colon crescendos and short sentences, in order to set the scene very vividly in the readers eyes; “groping a way along the dark gallery outside”, “a dream had scarcely approached my ear; when it fled affrighted, scared by a marrow-freezing incident enough”and “my first impulse was to rise and fasten the bolt; my next again to cry out,”who is there?””. The fire could well represent Jane’s situation and personality at that time. The fire is something that is very heated and intense, like Jane; and, since the arrival of Mr Rochester, that flame which has previously been suffocated has now been given air, and has progressed into an unquenchable blaze. Moreover, when the actual fire strikes Mr Rochester, he is lying unconscious on his bed. So, it is as though Jane is the thing in his life, that creeps up when he has become guarded and numb, and breaks down his emotional barriers, by effectively waking him up. Finally, the water which Jane pours over him to save him, could symbolise the lengths to which Jane is prepared to go to, to rescue him from his repressive life.
In her detailed description of Thornfield’s attic, Bronte reflects Jane’s feelings towards Rochester, and her curiosity as to whether he is hiding anything from her. The area of the house in which all of the guests are sleeping has many twisting paths and rooms which could represent the confusion that Jane is feeling about her sentiments towards Rochester; “for until the house is settled, she cannot be looked after”. This shows that until her mind is at ease and she understands what it is he is keeping from her and why, she cannot go on with her life or with Rochester. Furthermore, everyone is sleeping in “separate dormitories”, locked and hidden away from each other, representing the way in which Rochester is hiding the truth. Moreover, Bronte uses contrasting light and dark colours when setting the scene, in order to create mystery and to indicate towards the truth; “ the dark, low corridor of the fateful third story” and “ a light shone out of the room from within”. This adds drama to the air of mystery and the sense of the unknown that Jane is intrigued by and drawn to. The light represents the truth emerging slowly from the room. The light of the moon also represents truth and knowledge, “silver white and crystal clear”. Bronte personifies the moon as a mother figure that tries to awaken Jane (to the truth), as though it is a parent who knows the truth. However, Jane is reluctant to look at the moon, perhaps portraying Jane’s hesitance to realise the truth.
Bronte continues her use of descriptive language techniques such as imagery, pathetic fallacy and symbolism, when displaying Jane’s growing romantic feelings towards Mr Rochester, in the garden scenes at Thornfield. The lingering smell of Rochester’s cigar hangs in the air and follows Jane around the garden, representing Rochester himself and his peculiar persistence in trying to win Jane over. The time of year is spring, which is a metaphor for the blossoming of their relationship. The budding spring flowers and ripening fruits within the garden, create a sensual and fresh atmosphere, and Bronte accentuates the romance of the scene by introducing the song of a nightingale. This birdsong is however, inarticulate which symbolises Rochester’s difficulties in revealing his feelings to Jane. Towards the end of the scene, when it’s intensity increases by the build up to the proposal, the weather reflects this, as a storm begins to brew; “wind roared in the laurel walk”. Consequently, the chestnut tree “writhed and groaned”, symbolising Jane and Mr Rochester’s desire for each other. When they are finally engaged, “a livid, vivid spark leapt out of a cloud”, the climax of the storm is reached and the “rain rushed down” at last, this use of pathetic fallacy representing Jane and Rochester’s emotions, as they like the rain, are finally unleashed. The weather throughout the night is wild and violent, symbolising their feelings and desires, as well, perhaps, as the tempestuous nature of the relationship. As a result of this, the chestnut tree is discovered to have “been struck by lightning in the night, and half of it split away”. This could symbolise Jane’s feelings, in that, during the night, she gave a part of herself to Rochester emotionally, and has opened up to him. Overall, this scene is perfectly romantic on the exterior but it’s subtle references to the powerful and uncertain forces of nature and Bronte’s use of pathetic fallacy, are clear signs of the stormy, unsteady future of their relationship.
When Jane runs away from Thornfield in a state of emotional turmoil, Bronte relies heavily on the setting of the scene in order to portray her character’s mood and feelings. Her loss of hope and faith after leaving Rochester and her depth of despair, are symbolised in her barren, unfriendly surroundings; “the heather grows deep and wild”, “beside the crag the heath was very deep” and “I had now but to decay quietly, and mingle in peace with the soil of this wilderness”. This shows that she feels empty and lost inside. So, in a desperate attempt to feel loved, she embraces the landscape as her parents and clings to it; “Nature; I will seek her breast and ask repose”. As a result of this, she feels comforted, as she is using nature as a substitute for Rochester’s love.
Bronte sustains the theme of Jane’s need for love and care during this emotional time, by setting her recovery in the homely Marsh End. She portrays her feelings for the dull St John through her description of the setting of his proposal. So, Bronte uses pathetic fallacy as an omen to Jane’s response to the proposal. The weather is dull and unimpressive, “breeze, sweet with scents of heath”, and “ the sky was blue”. This is very unexciting and mundane to Jane in comparison to the stormy, unpredictable, passionate weather at the time of Rochester's proposal. Bronte tells us that, “the glen and sky spun around” and “the hills reared”; this portrays the boredom and restlessness that Jane feels around St John and within Marsh End. St John almost commands Jane to marry him as though it were a chore, “you were formed for labour not for love” and “ I claim you for my own”, whereas Rochester begs her because he loves her despite their atypical social status. Consequently, St John’s proposal is very degrading to Jane, as it makes her feel as though she is not seen as good enough to be a human being, by him and others, but instead used as a possession for the bearing of children. Jane’s answer of “No” is thus very predictable. Not simply because St John’s proposal is very uninviting and unromantic, but because she has already experienced Rochester’s, intense, romantic proposal, which she readily accepted, as they truly loved each other.
Bronte uses a large amount of imagery and symbolism in order to describe the final chapter of Jane’s life in Ferndean. The setting itself however, does not represent Jane, but Mr Rochester. Firstly, the weather around Ferndean -, “sad, sky, cold gale”- is a metaphor for Rochester’s emotional state of mind and his longing for Jane. Rochester’s isolation and withdrawal from reality is strongly conveyed to us, by the house which is surrounded by tall overgrown bushes and fences which look seemingly impenetrable. These barriers represent the emotional barriers that he has built up around his heart, after he was hurt so badly when Jane left him. The decrepid state of Ferndean’s grounds and fabric- “scarce by this dimlight, distinguishable from the trees; so dank and green were it’s decaying walls”-is a further echo of Rochester’s damaged emotional state, which is equally in need of attention and repair. Despite the barriers he has built up around himself, Jane goes to extraordinary lengths to get through to him to help him. Despite, “iron gates between granite pillars”, she tells us, “I looked round in search of another road. There was none; all was interwoven stem, columnar trunk, dense summer foliage- no opening anywhere” and “ I followed it, expecting soon to reach the dwelling, but it stretched on and on”. This vividly displays both the strength of Rochester’s self-defence and withdrawal but also the strength or her love for him and her determination to help him. When they are finally reunited, Jane devotes all of her love and care to Mr Rochester and the house and his sight begins to return slowly. Consequently, he has a whole new, more positive outlook on life, and this is reflected within the setting: “I had wakened the glow, his features beamed” and “ I led him out of the wet and wild woods into some cheerful fields”.
Bronte’s skilful use of language and detailed description of her characters goes some way towards conveying to us their experiences and their predicaments. But, I believe that, it is by the powerful use of setting that the book is given its full intensity, passion, tension and momentum. Moods and emotions are dextrously suggested, or reinforced and strengthed through such devices as: colour e.g. red and crimson, contrasts e.g. stark and opulent, and symbolism e.g. the decaying and impenetrable Ferndean. These same devices and contrasts also serve to maintain an air of uncertainty and tension- not just for the reader, but for Jane also. For example, the settings in which she finds herself leaver her feeling, “half imp, half fairy” and with her mind full of, “fancies bright and dark”. The strong and frequent use of imagery and symbolism throughout the book, to link characters and setting, not only draws the reader in, but almost demands their emotional involvement, their empathy, and often their sympathy. There is no doubt in my mind that Bronte’s deliberate, persistent and careful use of setting to reflect her characters’ experiences is pivotal to the book’s success.
