It is rather the pot call the kettle black for bulkyamist bridegroom Rochester to complain that Mason family secrets were unplowed from him before his marriage. Even so, the narrative of Jane Eyre positions him as the victim of deception while reinforcing the image of Bertha as a madwoman. When Rochester takes Jane to see Bertha and benignity Poole, the descriptions of behavior tell the story. Bertha has been "'rather snappish, muchover not 'rageous.'" Jane explains that the "maniac bellowed; she move her shaggy locks from her visage, and gazed wildly at her visitors." Bertha attacks Rochester effectively because she is "a big woman, in stature almost equaling her husband, and corpulent besides," but Rochester "would not strike--he would only wrestle" (Bronte 252), thence demonstrating his sanity and sympathy for the lunatic. Later, Rochester explains that " charitable conversation could not be sustained in the midst of us, because whatso e'er topic I started immediately received from her a bend dexter at once coarse and trite, perverse and imbecile . . . I repressed the deep antipathy I felt" (Bronte 263).
Bertha's tremendous madness remains Rochester's to bear when Jane leaves Thornfield, as she thinks, for good. He is terminus ad quem to a wife "at once intemperate and unchaste" (Bronte 264). By the time she returns to Thornfield, now an heiress, the fact of Rochester's "lunatic wife" is common gossip (Bronte
wonder of identity--always fraught with sanity peril--is further complicated by Antoinette's e'er hearing that her mother was mad as well. The effect on the daughter was decisive: "They won't let Antoinette see her. In the end--mad I don't know--she give up, she care for nothing" (Rhys 157). "She" could refer to either Antoinette or Annette; the point is that the isolation dries up Antoinette's psyche, such that all she is travel for is bending to the give of those who take charge of her and testing the limits of others' will as far as possible. Thus the marriage to Rochester, and thus must she bear the growing intensity of his hatred when he discovers the dread secret.
He wants pity because he is "tied to a lunatic for life--a drunken lying lunatic--gone her mother's way" (Rhys 164).
The situation of Bertha, called by her middle name Antoinette in Sargasso, is not one of established madness but rather of evolving mental deterioration, as against a Rochester who is pitiless toward her and resentful that she and her family (and his stimulate family) deceived him into marrying her. He resents her madness and rejects her, but her psychological dislocation has as much to do with her own inability to control her persona. She is by birth a ashen Creole, which means that she has African blood but that there is more European content to it. It also means that, in the Indies, her family is cave in of the elite, not slaves but slavers and slaveowners. The pull of cultures, however, is difficult for her to bear: " I've perceive English women call us white niggers. So between you I often wonder who I am and where is my demesne and where do I belong and why was I ever born at all" (Rhys 102).
365), especially the wife--"the mad brothel keeper . . . cunning as a witch" (369)--has lately torched Thornfield and herself died in the process. Rochester, heroic to the last, tried "to get his mad wife show up of her cell" and in a frenzied rescue onrush watches her, "waving her arms" and with "her long
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