如题所述
第1个回答 2007-10-17
内容提要
简·爱是个孤女，出生于一个穷牧师家庭。父母由于染上伤寒，在一个月之中相继去世。幼小的简寄养在舅父母家里。烁咐锏孪壬�ナ篮螅�蚬�?0年受尽歧视和虐待的生活。一次，由于反抗表哥的殴打，简被关进了红房子。肉体上的痛苦和心灵上的屈辱和恐惧，使她大病了一场。
舅母把她视作眼中钉，并把她和自己的孩子隔离开来，从此，她与舅母的对抗更加公开和坚决了。以后，简被送进了罗沃德孤儿院。
孤儿院教规严厉，生活艰苦，院长是个冷酷的伪君子。简在孤儿院继续受到精神和肉体上的摧残。由于恶劣的生活条件，孤儿院经常有孩子病死。简毕业后留校任教两年，这时，她的好友海伦患肺病去世。简厌倦了孤儿院里的生活，登广告谋求家庭教师的职业。
桑恩费尔德庄园的女管家聘用了她。庄园的男主人罗契斯特经常在外旅行，偌大的宅第只有一个不到10岁的女孩阿戴列·瓦朗，罗契斯特是她的保护人，她就是简的学生。
一天黄昏，简外出散步，邂逅刚从国外归来的主人，这是他们第一次见面。以后她发现她的主人是个性格忧郁、喜怒无常的人，对她的态度时好时坏。整幢房子沉郁空旷，有时还会听到一种令人毛骨悚然的奇怪笑声。
一天，简在睡梦中被这种笑声惊醒，发现罗契斯待的房间着了火，简叫醒他并帮助他扑灭了火。
罗契斯特回来后经常举行家宴。在一次家宴上向一位名叫布兰契的漂亮小姐大献殷勤，简被召进客厅，却受到布兰契母女的冷遇，她忍受屈辱，离开客厅。此时，她已经爱上了罗契斯特。其实罗契斯特也已爱上简，他只是想试探简对自己的爱情。当他向简求婚时，简答应了他。
婚礼前夜，简在朦胧中看到一个面目可憎的女人在镜前披戴她的婚纱。
第二天，当婚礼在教堂悄然进行时，突然有人出证：罗契斯特先生15年前已经结婚。他的妻子原来就是那个被关在三楼密室里的疯女人。法律阻碍了他们的爱情，使两人陷入深深的痛苦之中。在一个凄风苦雨之夜，简离开了罗契斯特。在寻找新的生活出路的途中，简风餐露宿，沿途乞讨，历尽唇难，最后在泽地房被牧师圣·约翰收留，并在当地一所小学校任教。
不久，简得知叔父去世并给她留下一笔遗产，同时还发现圣·约翰是她的表兄，简决定将财产平分。圣·约翰是个狂热的教徒，打算去印度传教。他请求简嫁给他并和他同去印度。简拒绝了他，决定回到罗契斯特身边。
她回到桑恩费尔德庄园，那座宅子已成废墟，疯女人放火后坠楼身亡，罗契斯特也受伤致残。简找到他并和他结了婚，得到了自己理想的幸福生活。
2
故事简介
《简爱》是英国十九世纪著名的女作家夏洛蒂·勃朗特的代表作，人们普遍认为《简爱》是夏洛蒂·勃朗特“诗意的生平”的写照，是一部具有自传色彩的作品。夏洛蒂·勃朗特、艾米莉·勃朗特、安妮·勃朗特和勃朗宁夫人构成那个时代英国妇女最高荣誉的完美的三位一体。
简爱的父亲是个穷牧师，当她还在，幼年时，父母就染病双双去世。简爱被送到盖茨海德庄园的舅母里德太太家抚养，里德先生临死前曾嘱咐妻子好好照顾简爱。简爱在里德太太家的地位，连使女都不如，受尽了表兄表姊妹的欺侮。一天表兄又打她了，她回手反抗，却被舅母关进红房子里，她的舅舅里德先生就死在这间屋子里。她被幻想中的鬼魂吓昏了过去。重病一场，过了很久才慢慢恢复健康。
她再也不想呆在里德太太家了，里德太太就把她送进达罗沃德孤儿院。孤儿院院长是个冷酷的伪君子，他用种种办法从精神和肉体上摧残孤儿。简与孤儿海伦结成好友，教师潭泊尔小姐很关心她。在孤儿院里一场传染性的伤寒，夺走了许多降儿的生命，海伦就在这场伤寒中死去，这对简爱打击很大。
简毕业后留校当了两年教师，她受不了那里的孤寂、冷漠，登广告找到了一个家庭教师的工作，于是她来到了桑费尔德庄园。在桑费尔德庄园只有庄园主罗彻斯特和他的私生女阿戴尔·瓦伦斯，而罗彻斯特经常到国外旅行，所以简到桑费尔德好几天，也没见到罗彻斯特。
一天黄昏，简外出散步，惊了刚刚从外面回来的罗彻斯特的马，罗彻斯特从马上摔了下来，简急忙上前去扶他，回到家后简才知道他便是庄园主罗彻斯特。罗彻斯特是个性格阴郁而又喜怒无常的人，他和简经常为某种思想新辩论不休。
在桑费尔德庄园不断发生奇怪的事情。有一天夜里，简被一阵奇怪的笑声惊醒，发现罗彻斯特的房门开着，床上着了火，她叫醒罗彻斯特并扑灭火。罗彻斯特告诉简三楼住着一个女栽缝格雷斯·普尔，她神精错乱，时常发出令人毛骨悚然的狂笑声，并要她对此事严守秘密。
罗彻斯特经常参加舞会，一天他把客人请到家里来玩，人们都以为在这场舞会上罗彻斯特会向布兰奇小姐求婚。在宴会上罗彻斯特坚持要简也到客厅里去，客人们对简的太度十分轻慢，罗彻却邀请简跳舞，简感觉到自己对罗彻斯特发生感情。
一天，罗彻斯特外出，家里来了一个蒙着盖头的吉卜赛人。当轮到给简算命时，简发现这个神秘的吉卜赛人就是罗彻斯特，他想借此试探简对他的感情。这时庄园里又来了个名梅森的陌生人，当晚他被三楼的神秘女人咬伤了，简帮罗彻斯特把他秘密送走。
不久，里德太太派人来找简，说她病危要见简一面。回到舅母家中，里德太太给她一封信，这封信是三年前简的叔父寄来的，向她打听侄女的消息，并把自己的遗产交给简。里德太太谎称简在孤儿院病死了，直到临终前才良心发现把真相告诉简。
简又回到桑费尔德庄园感觉像回到家一样。回来后，罗彻斯特向她未婚，简答应了，并高兴地准备婚礼。婚礼前夜，简从梦中惊醒，看到一个身材高大、面目可憎的女人正在戴她的婚纱，然后把婚纱撕成碎片。罗彻斯特告诉她那不过是一个梦，第二天当简醒来时发现婚纱真的成了碎片。
婚礼如期举行，一位不速之客闯进了教堂，声称婚礼不能进行，他说罗彻斯特15年前娶梅森先生的妹妹伯莎·梅森为妻。罗彻斯特承认了这一事实，并领人们看被关在三楼的疯女人，那就是他的合法妻子。她有遗传性精神病史，就是她在罗彻斯特的房间放火，也是她撕碎简的婚纱。
简悲痛欲绝地离开了桑费尔德庄园。她的仅有的积蓄花光了，沿途乞讨，最后晕倒在牧师圣约翰家门前，被圣约翰和他的两个妹妹救了。简住了下来，圣约翰为她谋了一个乡村教师的职位。
简悲痛欲绝地离开了桑费尔德庄园。她的仅有的积蓄花光了，沿途乞讨，最后晕倒在牧师圣约翰家门前，被圣约翰和他的两个妹妹救了。简住了下来，圣约翰为她谋了一个乡村教师的职位。
不久，圣约翰接到家庭律师的通知，说他的舅舅约翰简去世了，留给简二万英镑，要圣约翰帮助寻找简。圣约翰发现简是他的表妹，简执意要与他们分享遗产。圣约翰准备去印度传教，临行前向简求婚，但他坦率地告诉她，他要娶她并不是因为爱她，而是他需要一个很有教养的助手。简觉得应该报答他的恩情，但迟迟不肯答应他。当夜，圣约翰在荒原上等待简的答复，就在简要作出决定的时候，她仿佛听到罗彻斯特在遥远的地方呼喊她的名字“简，回来吧！简，回来吧！”她决定回到罗彻斯特身边。
当简回到桑费尔德庄园时，整个庄园变成一片废墟。原来几个月前，在一个风雨交加的夜晚，疯女人伯莎放火烧毁了整个庄园，罗彻斯特为了救她，被烧瞎了双眼，孤独地生活在几英里外的一个农场里。简赶到家场，向他吐露自己的爱情，他们终于结婚了。
两年之后，治好了罗彻斯特的一只眼睛，他看到了简为他生的第一个孩子。
简·爱是个孤女，出生于一个穷牧师家庭。父母由于染上伤寒，在一个月之中相继去世。幼小的简寄养在舅父母家里。烁咐锏孪壬�ナ篮螅�蚬�?0年受尽歧视和虐待的生活。一次，由于反抗表哥的殴打，简被关进了红房子。肉体上的痛苦和心灵上的屈辱和恐惧，使她大病了一场。
舅母把她视作眼中钉，并把她和自己的孩子隔离开来，从此，她与舅母的对抗更加公开和坚决了。以后，简被送进了罗沃德孤儿院。
孤儿院教规严厉，生活艰苦，院长是个冷酷的伪君子。简在孤儿院继续受到精神和肉体上的摧残。由于恶劣的生活条件，孤儿院经常有孩子病死。简毕业后留校任教两年，这时，她的好友海伦患肺病去世。简厌倦了孤儿院里的生活，登广告谋求家庭教师的职业。
桑恩费尔德庄园的女管家聘用了她。庄园的男主人罗契斯特经常在外旅行，偌大的宅第只有一个不到10岁的女孩阿戴列·瓦朗，罗契斯特是她的保护人，她就是简的学生。
一天黄昏，简外出散步，邂逅刚从国外归来的主人，这是他们第一次见面。以后她发现她的主人是个性格忧郁、喜怒无常的人，对她的态度时好时坏。整幢房子沉郁空旷，有时还会听到一种令人毛骨悚然的奇怪笑声。
一天，简在睡梦中被这种笑声惊醒，发现罗契斯待的房间着了火，简叫醒他并帮助他扑灭了火。
罗契斯特回来后经常举行家宴。在一次家宴上向一位名叫布兰契的漂亮小姐大献殷勤，简被召进客厅，却受到布兰契母女的冷遇，她忍受屈辱，离开客厅。此时，她已经爱上了罗契斯特。其实罗契斯特也已爱上简，他只是想试探简对自己的爱情。当他向简求婚时，简答应了他。
婚礼前夜，简在朦胧中看到一个面目可憎的女人在镜前披戴她的婚纱。
第二天，当婚礼在教堂悄然进行时，突然有人出证：罗契斯特先生15年前已经结婚。他的妻子原来就是那个被关在三楼密室里的疯女人。法律阻碍了他们的爱情，使两人陷入深深的痛苦之中。在一个凄风苦雨之夜，简离开了罗契斯特。在寻找新的生活出路的途中，简风餐露宿，沿途乞讨，历尽唇难，最后在泽地房被牧师圣·约翰收留，并在当地一所小学校任教。
不久，简得知叔父去世并给她留下一笔遗产，同时还发现圣·约翰是她的表兄，简决定将财产平分。圣·约翰是个狂热的教徒，打算去印度传教。他请求简嫁给他并和他同去印度。简拒绝了他，决定回到罗契斯特身边。
她回到桑恩费尔德庄园，那座宅子已成废墟，疯女人放火后坠楼身亡，罗契斯特也受伤致残。简找到他并和他结了婚，得到了自己理想的幸福生活。
2
故事简介
《简爱》是英国十九世纪著名的女作家夏洛蒂·勃朗特的代表作，人们普遍认为《简爱》是夏洛蒂·勃朗特“诗意的生平”的写照，是一部具有自传色彩的作品。夏洛蒂·勃朗特、艾米莉·勃朗特、安妮·勃朗特和勃朗宁夫人构成那个时代英国妇女最高荣誉的完美的三位一体。
简爱的父亲是个穷牧师，当她还在，幼年时，父母就染病双双去世。简爱被送到盖茨海德庄园的舅母里德太太家抚养，里德先生临死前曾嘱咐妻子好好照顾简爱。简爱在里德太太家的地位，连使女都不如，受尽了表兄表姊妹的欺侮。一天表兄又打她了，她回手反抗，却被舅母关进红房子里，她的舅舅里德先生就死在这间屋子里。她被幻想中的鬼魂吓昏了过去。重病一场，过了很久才慢慢恢复健康。
她再也不想呆在里德太太家了，里德太太就把她送进达罗沃德孤儿院。孤儿院院长是个冷酷的伪君子，他用种种办法从精神和肉体上摧残孤儿。简与孤儿海伦结成好友，教师潭泊尔小姐很关心她。在孤儿院里一场传染性的伤寒，夺走了许多降儿的生命，海伦就在这场伤寒中死去，这对简爱打击很大。
简毕业后留校当了两年教师，她受不了那里的孤寂、冷漠，登广告找到了一个家庭教师的工作，于是她来到了桑费尔德庄园。在桑费尔德庄园只有庄园主罗彻斯特和他的私生女阿戴尔·瓦伦斯，而罗彻斯特经常到国外旅行，所以简到桑费尔德好几天，也没见到罗彻斯特。
一天黄昏，简外出散步，惊了刚刚从外面回来的罗彻斯特的马，罗彻斯特从马上摔了下来，简急忙上前去扶他，回到家后简才知道他便是庄园主罗彻斯特。罗彻斯特是个性格阴郁而又喜怒无常的人，他和简经常为某种思想新辩论不休。
在桑费尔德庄园不断发生奇怪的事情。有一天夜里，简被一阵奇怪的笑声惊醒，发现罗彻斯特的房门开着，床上着了火，她叫醒罗彻斯特并扑灭火。罗彻斯特告诉简三楼住着一个女栽缝格雷斯·普尔，她神精错乱，时常发出令人毛骨悚然的狂笑声，并要她对此事严守秘密。
罗彻斯特经常参加舞会，一天他把客人请到家里来玩，人们都以为在这场舞会上罗彻斯特会向布兰奇小姐求婚。在宴会上罗彻斯特坚持要简也到客厅里去，客人们对简的太度十分轻慢，罗彻却邀请简跳舞，简感觉到自己对罗彻斯特发生感情。
一天，罗彻斯特外出，家里来了一个蒙着盖头的吉卜赛人。当轮到给简算命时，简发现这个神秘的吉卜赛人就是罗彻斯特，他想借此试探简对他的感情。这时庄园里又来了个名梅森的陌生人，当晚他被三楼的神秘女人咬伤了，简帮罗彻斯特把他秘密送走。
不久，里德太太派人来找简，说她病危要见简一面。回到舅母家中，里德太太给她一封信，这封信是三年前简的叔父寄来的，向她打听侄女的消息，并把自己的遗产交给简。里德太太谎称简在孤儿院病死了，直到临终前才良心发现把真相告诉简。
简又回到桑费尔德庄园感觉像回到家一样。回来后，罗彻斯特向她未婚，简答应了，并高兴地准备婚礼。婚礼前夜，简从梦中惊醒，看到一个身材高大、面目可憎的女人正在戴她的婚纱，然后把婚纱撕成碎片。罗彻斯特告诉她那不过是一个梦，第二天当简醒来时发现婚纱真的成了碎片。
婚礼如期举行，一位不速之客闯进了教堂，声称婚礼不能进行，他说罗彻斯特15年前娶梅森先生的妹妹伯莎·梅森为妻。罗彻斯特承认了这一事实，并领人们看被关在三楼的疯女人，那就是他的合法妻子。她有遗传性精神病史，就是她在罗彻斯特的房间放火，也是她撕碎简的婚纱。
简悲痛欲绝地离开了桑费尔德庄园。她的仅有的积蓄花光了，沿途乞讨，最后晕倒在牧师圣约翰家门前，被圣约翰和他的两个妹妹救了。简住了下来，圣约翰为她谋了一个乡村教师的职位。
简悲痛欲绝地离开了桑费尔德庄园。她的仅有的积蓄花光了，沿途乞讨，最后晕倒在牧师圣约翰家门前，被圣约翰和他的两个妹妹救了。简住了下来，圣约翰为她谋了一个乡村教师的职位。
不久，圣约翰接到家庭律师的通知，说他的舅舅约翰简去世了，留给简二万英镑，要圣约翰帮助寻找简。圣约翰发现简是他的表妹，简执意要与他们分享遗产。圣约翰准备去印度传教，临行前向简求婚，但他坦率地告诉她，他要娶她并不是因为爱她，而是他需要一个很有教养的助手。简觉得应该报答他的恩情，但迟迟不肯答应他。当夜，圣约翰在荒原上等待简的答复，就在简要作出决定的时候，她仿佛听到罗彻斯特在遥远的地方呼喊她的名字“简，回来吧！简，回来吧！”她决定回到罗彻斯特身边。
当简回到桑费尔德庄园时，整个庄园变成一片废墟。原来几个月前，在一个风雨交加的夜晚，疯女人伯莎放火烧毁了整个庄园，罗彻斯特为了救她，被烧瞎了双眼，孤独地生活在几英里外的一个农场里。简赶到家场，向他吐露自己的爱情，他们终于结婚了。
两年之后，治好了罗彻斯特的一只眼睛，他看到了简为他生的第一个孩子。
第2个回答 2007-10-11
《简·爱》1847是一部自传成分很浓的小说，虽然书中的故事是虚构的，但是女主人公以及其他许多人物的生活、环境，甚至许多生活细节，都是取自作者及其周围人的真实经验。作者夏洛蒂·勃朗特1816年生于英国北部的一个牧师家庭。母亲早逝，八岁的夏洛蒂被送进一所寄宿学校。在那里生活条件极其恶劣，她的两个姐姐因染上肺病而先后死去。于是夏洛蒂和妹妹艾米利回到家乡，在荒凉的约克郡山区度过了童年。15岁时她进了伍勒小姐办的学校读书，几年后又在这个学校当教师。后来她曾作家庭教师，但因不能忍受贵妇人、阔小姐对家庭教师的歧视和刻薄，放弃了家庭教师的谋生之路。她曾打算自办学校，为此她在姨母的资助下与艾米利一起去意大利进修法语和德语。然而由于没有人来就读，学校没能办成。但是她在意大利学习的经历激发了她表现自我的强烈愿望，促使她投身于文学创作的道路。
《简·爱》写于1846年，是夏洛蒂的第二部小说。她借一个出身寒微的年轻女子奋斗的经历，抒发了自己胸中的积愫，深深打动了当时的读者。小说于1847年秋以柯勒·贝尔的笔名发表，随即在次年又相继两次再版。这位名不见经传的作者，夏洛蒂·勃朗特，由此进入英国著名小说家的行列。
《简·爱》的独特之处不仅在于小说的真实性和强烈的感染力，还在于小说塑造了一个不屈于世俗压力，独立自主，积极进取的女性形象。小说中简·爱对罗切斯特的爱情故事，生动地展现了的那火一样的热情和赤诚的心灵，强烈地透露出她的爱情观。她蔑视权贵的骄横，嘲笑他们的愚蠢，显示出自强自立的人格和美好的理想。她大胆地爱自己所爱，然而当她发现自己所爱之人还有妻子的时候，又毅然离开她所留恋的人和地方。小说表达出的思想，即妇女不甘于社会指定她们的地位而要求在工作上以至婚姻上独立平等的思想，在当时不同凡响，对英国文坛也是一大震动。小说的虚构结尾，描写简爱获得一笔遗产，回到孤独无助的罗切斯特身边。这一情节虽然值得推敲，但是它显露出作者的理想—女性在经济、社会地位以及家庭中的独立平等以及对爱情的忠贞不移。
在写作风格上，夏洛蒂也独树一帜。她文笔简洁而传神，质朴而生动，加之第一人称的叙述语言，使得小说贴近读者，贴近现实。同时，小说又体现了欧洲浪漫主义文学传统的特点，显示出作者丰富的想象力和诗人的气质。作者在叙述中自然地使用了梦境、幻觉、预感和象征、隐喻等手法，使小说的“自然”境界扑朔朦胧，情节扣人心弦。
在当今文坛中，有人批评小说缺乏对社会现实更理智而深刻的分析。在对疯女人的描写中，过多地追求“哥特式小说”的神秘气氛而减弱了表现现实的真实性。在对牧师圣约翰的描写上，美化他献身基督教的传道事业，而掩盖了殖民主义者文化侵略的性质。小说中所表现的这些局限性的成因很复杂，有的是受作者本人的阅历所限她只活了39岁，有的是因作品本身形式的特点而定，而有的则是由于历史的局限性所至。总之，一百多年来，《简·爱》的影响不衰，作家、评论家对它的热情不成。它至今仍然是广大读者喜爱的书。
吴均燮译、人民文学出版社1990年版《简·爱》。
《简·爱》写于1846年，是夏洛蒂的第二部小说。她借一个出身寒微的年轻女子奋斗的经历，抒发了自己胸中的积愫，深深打动了当时的读者。小说于1847年秋以柯勒·贝尔的笔名发表，随即在次年又相继两次再版。这位名不见经传的作者，夏洛蒂·勃朗特，由此进入英国著名小说家的行列。
《简·爱》的独特之处不仅在于小说的真实性和强烈的感染力，还在于小说塑造了一个不屈于世俗压力，独立自主，积极进取的女性形象。小说中简·爱对罗切斯特的爱情故事，生动地展现了的那火一样的热情和赤诚的心灵，强烈地透露出她的爱情观。她蔑视权贵的骄横，嘲笑他们的愚蠢，显示出自强自立的人格和美好的理想。她大胆地爱自己所爱，然而当她发现自己所爱之人还有妻子的时候，又毅然离开她所留恋的人和地方。小说表达出的思想，即妇女不甘于社会指定她们的地位而要求在工作上以至婚姻上独立平等的思想，在当时不同凡响，对英国文坛也是一大震动。小说的虚构结尾，描写简爱获得一笔遗产，回到孤独无助的罗切斯特身边。这一情节虽然值得推敲，但是它显露出作者的理想—女性在经济、社会地位以及家庭中的独立平等以及对爱情的忠贞不移。
在写作风格上，夏洛蒂也独树一帜。她文笔简洁而传神，质朴而生动，加之第一人称的叙述语言，使得小说贴近读者，贴近现实。同时，小说又体现了欧洲浪漫主义文学传统的特点，显示出作者丰富的想象力和诗人的气质。作者在叙述中自然地使用了梦境、幻觉、预感和象征、隐喻等手法，使小说的“自然”境界扑朔朦胧，情节扣人心弦。
在当今文坛中，有人批评小说缺乏对社会现实更理智而深刻的分析。在对疯女人的描写中，过多地追求“哥特式小说”的神秘气氛而减弱了表现现实的真实性。在对牧师圣约翰的描写上，美化他献身基督教的传道事业，而掩盖了殖民主义者文化侵略的性质。小说中所表现的这些局限性的成因很复杂，有的是受作者本人的阅历所限她只活了39岁，有的是因作品本身形式的特点而定，而有的则是由于历史的局限性所至。总之，一百多年来，《简·爱》的影响不衰，作家、评论家对它的热情不成。它至今仍然是广大读者喜爱的书。
吴均燮译、人民文学出版社1990年版《简·爱》。
参考资料：
第3个回答 2007-10-11
教 学内 容(可附另页) Part I General Information about the movieCharacters1. Orson Welles ..... Edward Rochester 2. Mae Marsh ..... Leah (uncredited) 3. Brandon Hurst ..... Trustee (uncredited) 4. 伊丽莎白·泰勒 Elizabeth Taylor ..... Helen Burns (uncredited) 5. Margaret O'Brien ..... Adele Varens 6. Mary Forbes ..... Mrs. Eshtor (uncredited) 7. 琼·芳登 Joan Fontaine ..... Jane Eyre 8. Tempe Pigott ..... Fortune Teller (uncredited) 9. Sara Allgood ..... BessieDirector:1. Robert StevensonScreen play by:2. Aldous Huxley ..... screenplay 3. Charlotte Brontë ..... (novel) 4. Robert Stevenson ..... screenplay 5. John Houseman ..... screenplayPresented by:1. Twentieth Century Fox Film Corporation [美国] Some information about Aldous Huxley:Aldous Leonard Huxley was born on July 26, 1894, into a family that included some of the most distinguished members of that part of the English ruling class made up of the intellectual elite. Aldous' father was the son of Thomas Henry Huxley, a great biologist who helped develop the theory of evolution. His mother was the sister of Mrs. Humphrey Ward, the novelist; the niece of Matthew Arnold, the poet; and the granddaughter of Thomas Arnold, a famous educator and the real-life headmaster of Rugby School who became a character in the novel Tom Brown's Schooldays.Part II Plot Synopsis by Hal Erickson
Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner).
Part III Language points and cultural notes1. Money and position seemed all that mattered. Charity was a cold disagreeable word. Religion too often wore a mask of bigotry and cruelty. There was no proper place for the poor or the unfortunate. (key statement in the understanding of the movie)2. (P63) Dr. River: Duty is what you have to do, even when you don’t want to do it. 3. Mr. Brocklehurst: Let Eyre be brought in. And in those ten years it has been granted me to plant her feet on the path of salvation.In the movie passive voice is frequently used in the spoken language which makes the speech formal and elegant, at the same time, it is used by Mr. Brocklehurst which reflected his hypocrisy.4. Dr. River: Jane, it’s not every young woman that could face the world single handed, but you know what right is then stick to it through thick and thin.Through thick and thin: in spite of any difficulties or problemsEg. Then, families stuck together through thick and thin.5. Man: Who is the young Lady, sir?Waiter: Couldn’t say, sir, just come in by coach.Man: Give her my compliments and ask if she’d care to join me in a glass of Madeira.Waiter: Yes, sir. Gentleman over there presents his compliments and asks if you’d care to take a glass of summat with him?Please pay attention to the way of offering compliments to a lady.6. Jane: Shall I have the pleasure of seeing Miss Fairfax tonight?7. Fairfax: Little Adele is his ward. (受他监护)8. please pay attention to the French used in the movie Mademoiselle Monsieur9. Rochester: A puzzled air becomes you. （很合适你）10．（P77）Mason: Edward, I’m done for it.Be done for: (inf) to be in serious trouble or likely to fail. (完了)Eg. If we get caught, we’re done for.11. Rochester: Now, now, now, horseplay.Horseplay: (old fashioned) rough noisy play in which people push or hit each other for fun. (演猴戏)Biblical illusion:12. the original sin: According to the Bible, every one because of human being’s ancestor Adam and Eve’s original sin, when they were born, they were the sinners. Only through the atonements, that means the suffering, punishment etc. the people could get the forgiveness then get the happiness. 13. Rochester: It’s as if I had a string somewhere under my left rib.[the story is also from Bible: Genesis that God gets one of the Adam’s rib to make Eve and that makes them a couple. Christian tends to use “Bone of bone, flesh of flesh” to say the relationship of a couple]14. [P79] one of the polite pattern of conversation in the social circumstance social interaction and activitieyMiss Blanche: Edward, does that person want you?Mane: I’m sorry, sir, I didn’t know you were occupied.Rochester: Very good, Miss Eyre, I’m sure the ladies will excuse me.15. the places in the movieGateshead Hall, Lowood, Thornfield, The red room the attic[the places of fury] Helen and Miss Temple[taught Jane to be a real Christian with forgiveness and patience and love] Part IV Review by Craig Butler
Jane Eyre is a marvelous adaptation of the Charlotte Bronte classic. While it necessarily has to leave out portions of the novel, it does an excellent job of capturing its flavor, as screenwriters Robert Stevenson, John Houseman, and Aldous Huxley have been careful and judicious in selecting the most important elements to transfer to the screen. Stevenson's direction is among the best of his career, creating senses of atmosphere -- from the oppressive soul-breaking of the orphanage to the strangely beautiful terror of the moors -- that practically fly off the screen. He is greatly aided by George Barnes' expressive, evocative cinematography and Bernard Herrmann's haunting and emotional score. His biggest help, however, comes from stars Orson Welles and Joan Fontaine, both individually and together. Welles' is the more obviously impressive performance, possessed of an overpowering broodiness that masks his character's tortured soul. Calibrating his role with moments of great tenderness, Welles conveys the contradictions in Edward Rochester with ease. Fontaine's role is less flashy, but she brings a quiet conviction to the part that helps anchor the film; her Jane may not bluster and storm as Rochester, but she is every bit as powerful in her own way. Together, the two display a welcome chemistry without which the movie would fail.Some information about the author and the novelCharlotte BronteCharlotte's works are all about the struggle of an individual consciousness towards self-realization, about some lonely and neglected young women with a fierce longing for love, understanding and a full, happy life. But brought up with strict orthodoxy, Charleotte would usually stick to the Puritanical code. She loves the beauty of nature but despises worldly ambition and success. In her mind, man's life is composed of perpetual battle between sin and virtue, good and evil. All her heroines' highest joy arises from some sacrifice of self or some human weakness overcome. Besides, she is a writer of realism combined with romanticism. On one hand, she presents a vivid realistic picture of the English society by exposing the cruelty, hypocrisy and other evils of the upper classes, and by showing the misery and suffering of the poor. Her works are famous for the depiction of the life of the middle-class working women, particularly governesses. On the other hand, her writings are marked throughout by an intensity of vision and of passion. By writing from an individual point of view, by creating characters who are possessed of strong feelings, fiery passions and some extraordinary personalities, by resorting to some elements of horror, mystery and prophesy, she is able to recreate life in a wondrously romantic way. So, whatever weakness her work may have, the vividness of her subjective narration, the intensely achieved characterization, especially those heroines who are totally contrary to the public expectations, and the most truthful presentation of the economical, moral, social life of the time---- all this renders her works a never dying popularity.Jane Eyre by Charlotte Bronte(The story opens with the titular heroine, Jane Eyre, a plain little orphan, at Gateshead Hall with her aunt and cousins. Her aunt, Mrs Reed, a selfish and cold-hearted woman, and her three children all treat Jane very badly. One day, in an outbreak, Jane fights back and is shut up in the horrible red room. To get rid of this eye-sore, Mrs Reed sends her away to Lowood , a charity school for the orphaned or unwanted children. Jane suffers a lot there, both physically and mentally, only to be consoled by the kindness of a teacher, Miss Temple and the friendship of Helen Burns, a pupil who dies as a result of the bad conditions there. Jane stays at the school for eight years, first six as a student and the rest two as a teacher. An advertisement gives her the chance to be a governess at Thornfield Hall. There she falls in love with the master of the house, Mr Rochester, a grim-looking, energetic, quick-tempered but an understanding middle-aged man. He too is attracted to the little plain governess for her quick wit, honesty, frankness, loving heart and her spirit of independence and self-dignity. But their wedding is canceled on the ground that Rochester is already married and his wife, though raving mad, is still alive. Shocked and deeply hurt, Jane makes up her mind to leave Rochester. She flees into the moorland. She would have died of starvation but for St John Rivers and his two sisters. It turns out that the Rivers are really her cousins, and from them she also learns that she is now a rich heiress. One day, St. John Rivers, a very handsome clergeyman who is determined to devote himself solely to God, asks Jane to marry him and accompany him to India for missionary work. Just when Jane, now desperate of her union with Rochester, is about to accept John's loveless proposal, whe hears Rochester calling for her. Following her own heart, Jane returns to Thornfield. She finds the burnt-down Thornfield Hall and its master, now a blind but free man. The two lovers are finally united and live happily ever after.The work is one of the most popular and important novels of the Victorian age. It is noted for its sharp criticism of the existing society, e.g. the religious hypocrisy of charity institutions such as Lowood School where poor girls are trained, through constant starvation and humiliation, to be humble slaves, the social discrimination Jane experiences first as a dependent at her aunt's house and later as a governess at Thornfield, and the false social convention as concerning love and marriage. At the same time, it is an intense moral fable. Jane, like Mr. Rochester, has to undergo a series of physical and moral tests to grow up and achieve her final happiness.The success of the novel is also due to its introduction to the English novel the first governess heroine. Jane Eyre, an orphan child with a fiery spirit and a longing to love and be loved, a poor, plain, little governess who dares to love her master, a man superior to her in many ways, and even is brave enough to declare to the man her love for him, cuts a completely new woman image. She represents those middle-class working women who are struggling for recognition of their basic rights and equality as a human being. The vivid description of her intense feelings and her thought and inner conflicts brings her to the heart of the audience.The following selection is taken from Chapter XXIII, not long after Jane is back from her aunt's funeral. Jane finds herself hopelessly in love with Mr. Rochester but she is aware that her love is out of the question. So, when forced to confront Mr Rochester, she desperately and openly declares her equality with him and her love for him. The passion described here is intense and genuine. Jane's passionate protestation is typically hers.)…'It is a long way to Ireland, Janet, and I am sorry to send my little friend on such weary travels: but if I can't do better, how is it to be helped? Are you anything akin to me, do you think, Jane?' I could risk no sort of answer by this time: my heart was still. 'Because,' he said, 'I sometimes have a queer feeling with regard to you- especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame. And if that boisterous Channel and two hundred miles or so of land come broad between us, I am afraid that cord of communion will be snapt; and then I've a nervous notion I should take to bleeding inwardly. As for you,- you'd forget me.' 'That I never should, sir: you know-' Impossible to proceed. 'Jane, do you hear that nightingale singing in the wood? Listen!' In listening, I sobbed convulsively; for I could repress what I endured no longer; I was obliged to yield, and I was shaken from head to foot with acute distress. When I did speak, it was only to express an impetuous wish that I had never been born, or never come to Thornfield. 'Because you are sorry to leave it?' The vehemence of emotion, stirred by grief and love within me, was claiming mastery, and struggling for full sway, and asserting a right to predominate, to overcome, to live, rise, and reign at last: yes,—— and to speak.
Director Robert Stevenson collaborated with novelist Aldous Huxley and theatrical-producer John Houseman on the screenplay for this 1944 adaptation of Charlotte Bronte's gothic romance Jane Eyre. After several harrowing years in an orphanage, where she was placed by a supercilious relative for exhibiting the forbidden trait of "willfulness," Jane Eyre (Joan Fontaine) secures work as a governess. Her little charge, French-accented Adele (Margaret O'Brien), is pleasant enough. But Jane's employer, the brooding, tormented Edward Rochester (Orson Welles), terrifies the prim young governess. Under Jane's gentle influence, Rochester drops his forbidding veneer, going so far as to propose marriage to Jane. But they are forbidden connubial happiness when it is revealed that Rochester is still married to a gibbering lunatic whom he is forced to keep locked in his attic. Rochester reluctantly sends Jane away, but she returns, only to find that the insane wife has burned down the mansion and rendered Rochester sightless. In the tradition of Victorian romances, this purges Rochester of any previous sins, making him a worthy mate for the loving Jane. The presence of Orson Welles in the cast (he receives top billing), coupled with the dark, Germanic style of the direction and photography, has led some impressionable cineasts to conclude that Welles, and not Stevenson, was the director. To be sure, Welles contributed ideas throughout the filming; also, the script was heavily influenced by the Mercury Theater on the Air radio version of Jane Eyre, on which Welles, John Houseman and musical director Bernard Herrmann all collaborated. But Jane Eyre was made at 20th Century-Fox, a studio disinclined to promote the auteur theory; like most Fox productions, this is a work by committee rather than the product of one man. This in no way detracts from the overall excellence of the film; of all adaptations of Jane Eyre (it had previously been filmed in 1913, 1915 and 1921, and has been remade several times since), this 1943 version is one of the best. Keep an eye out for an uncredited Elizabeth Taylor as the consumptive orphanage friend of young Jane Eyre (played as child by Peggy Ann Gardner).
Part III Language points and cultural notes1. Money and position seemed all that mattered. Charity was a cold disagreeable word. Religion too often wore a mask of bigotry and cruelty. There was no proper place for the poor or the unfortunate. (key statement in the understanding of the movie)2. (P63) Dr. River: Duty is what you have to do, even when you don’t want to do it. 3. Mr. Brocklehurst: Let Eyre be brought in. And in those ten years it has been granted me to plant her feet on the path of salvation.In the movie passive voice is frequently used in the spoken language which makes the speech formal and elegant, at the same time, it is used by Mr. Brocklehurst which reflected his hypocrisy.4. Dr. River: Jane, it’s not every young woman that could face the world single handed, but you know what right is then stick to it through thick and thin.Through thick and thin: in spite of any difficulties or problemsEg. Then, families stuck together through thick and thin.5. Man: Who is the young Lady, sir?Waiter: Couldn’t say, sir, just come in by coach.Man: Give her my compliments and ask if she’d care to join me in a glass of Madeira.Waiter: Yes, sir. Gentleman over there presents his compliments and asks if you’d care to take a glass of summat with him?Please pay attention to the way of offering compliments to a lady.6. Jane: Shall I have the pleasure of seeing Miss Fairfax tonight?7. Fairfax: Little Adele is his ward. (受他监护)8. please pay attention to the French used in the movie Mademoiselle Monsieur9. Rochester: A puzzled air becomes you. （很合适你）10．（P77）Mason: Edward, I’m done for it.Be done for: (inf) to be in serious trouble or likely to fail. (完了)Eg. If we get caught, we’re done for.11. Rochester: Now, now, now, horseplay.Horseplay: (old fashioned) rough noisy play in which people push or hit each other for fun. (演猴戏)Biblical illusion:12. the original sin: According to the Bible, every one because of human being’s ancestor Adam and Eve’s original sin, when they were born, they were the sinners. Only through the atonements, that means the suffering, punishment etc. the people could get the forgiveness then get the happiness. 13. Rochester: It’s as if I had a string somewhere under my left rib.[the story is also from Bible: Genesis that God gets one of the Adam’s rib to make Eve and that makes them a couple. Christian tends to use “Bone of bone, flesh of flesh” to say the relationship of a couple]14. [P79] one of the polite pattern of conversation in the social circumstance social interaction and activitieyMiss Blanche: Edward, does that person want you?Mane: I’m sorry, sir, I didn’t know you were occupied.Rochester: Very good, Miss Eyre, I’m sure the ladies will excuse me.15. the places in the movieGateshead Hall, Lowood, Thornfield, The red room the attic[the places of fury] Helen and Miss Temple[taught Jane to be a real Christian with forgiveness and patience and love] Part IV Review by Craig Butler
Jane Eyre is a marvelous adaptation of the Charlotte Bronte classic. While it necessarily has to leave out portions of the novel, it does an excellent job of capturing its flavor, as screenwriters Robert Stevenson, John Houseman, and Aldous Huxley have been careful and judicious in selecting the most important elements to transfer to the screen. Stevenson's direction is among the best of his career, creating senses of atmosphere -- from the oppressive soul-breaking of the orphanage to the strangely beautiful terror of the moors -- that practically fly off the screen. He is greatly aided by George Barnes' expressive, evocative cinematography and Bernard Herrmann's haunting and emotional score. His biggest help, however, comes from stars Orson Welles and Joan Fontaine, both individually and together. Welles' is the more obviously impressive performance, possessed of an overpowering broodiness that masks his character's tortured soul. Calibrating his role with moments of great tenderness, Welles conveys the contradictions in Edward Rochester with ease. Fontaine's role is less flashy, but she brings a quiet conviction to the part that helps anchor the film; her Jane may not bluster and storm as Rochester, but she is every bit as powerful in her own way. Together, the two display a welcome chemistry without which the movie would fail.Some information about the author and the novelCharlotte BronteCharlotte's works are all about the struggle of an individual consciousness towards self-realization, about some lonely and neglected young women with a fierce longing for love, understanding and a full, happy life. But brought up with strict orthodoxy, Charleotte would usually stick to the Puritanical code. She loves the beauty of nature but despises worldly ambition and success. In her mind, man's life is composed of perpetual battle between sin and virtue, good and evil. All her heroines' highest joy arises from some sacrifice of self or some human weakness overcome. Besides, she is a writer of realism combined with romanticism. On one hand, she presents a vivid realistic picture of the English society by exposing the cruelty, hypocrisy and other evils of the upper classes, and by showing the misery and suffering of the poor. Her works are famous for the depiction of the life of the middle-class working women, particularly governesses. On the other hand, her writings are marked throughout by an intensity of vision and of passion. By writing from an individual point of view, by creating characters who are possessed of strong feelings, fiery passions and some extraordinary personalities, by resorting to some elements of horror, mystery and prophesy, she is able to recreate life in a wondrously romantic way. So, whatever weakness her work may have, the vividness of her subjective narration, the intensely achieved characterization, especially those heroines who are totally contrary to the public expectations, and the most truthful presentation of the economical, moral, social life of the time---- all this renders her works a never dying popularity.Jane Eyre by Charlotte Bronte(The story opens with the titular heroine, Jane Eyre, a plain little orphan, at Gateshead Hall with her aunt and cousins. Her aunt, Mrs Reed, a selfish and cold-hearted woman, and her three children all treat Jane very badly. One day, in an outbreak, Jane fights back and is shut up in the horrible red room. To get rid of this eye-sore, Mrs Reed sends her away to Lowood , a charity school for the orphaned or unwanted children. Jane suffers a lot there, both physically and mentally, only to be consoled by the kindness of a teacher, Miss Temple and the friendship of Helen Burns, a pupil who dies as a result of the bad conditions there. Jane stays at the school for eight years, first six as a student and the rest two as a teacher. An advertisement gives her the chance to be a governess at Thornfield Hall. There she falls in love with the master of the house, Mr Rochester, a grim-looking, energetic, quick-tempered but an understanding middle-aged man. He too is attracted to the little plain governess for her quick wit, honesty, frankness, loving heart and her spirit of independence and self-dignity. But their wedding is canceled on the ground that Rochester is already married and his wife, though raving mad, is still alive. Shocked and deeply hurt, Jane makes up her mind to leave Rochester. She flees into the moorland. She would have died of starvation but for St John Rivers and his two sisters. It turns out that the Rivers are really her cousins, and from them she also learns that she is now a rich heiress. One day, St. John Rivers, a very handsome clergeyman who is determined to devote himself solely to God, asks Jane to marry him and accompany him to India for missionary work. Just when Jane, now desperate of her union with Rochester, is about to accept John's loveless proposal, whe hears Rochester calling for her. Following her own heart, Jane returns to Thornfield. She finds the burnt-down Thornfield Hall and its master, now a blind but free man. The two lovers are finally united and live happily ever after.The work is one of the most popular and important novels of the Victorian age. It is noted for its sharp criticism of the existing society, e.g. the religious hypocrisy of charity institutions such as Lowood School where poor girls are trained, through constant starvation and humiliation, to be humble slaves, the social discrimination Jane experiences first as a dependent at her aunt's house and later as a governess at Thornfield, and the false social convention as concerning love and marriage. At the same time, it is an intense moral fable. Jane, like Mr. Rochester, has to undergo a series of physical and moral tests to grow up and achieve her final happiness.The success of the novel is also due to its introduction to the English novel the first governess heroine. Jane Eyre, an orphan child with a fiery spirit and a longing to love and be loved, a poor, plain, little governess who dares to love her master, a man superior to her in many ways, and even is brave enough to declare to the man her love for him, cuts a completely new woman image. She represents those middle-class working women who are struggling for recognition of their basic rights and equality as a human being. The vivid description of her intense feelings and her thought and inner conflicts brings her to the heart of the audience.The following selection is taken from Chapter XXIII, not long after Jane is back from her aunt's funeral. Jane finds herself hopelessly in love with Mr. Rochester but she is aware that her love is out of the question. So, when forced to confront Mr Rochester, she desperately and openly declares her equality with him and her love for him. The passion described here is intense and genuine. Jane's passionate protestation is typically hers.)…'It is a long way to Ireland, Janet, and I am sorry to send my little friend on such weary travels: but if I can't do better, how is it to be helped? Are you anything akin to me, do you think, Jane?' I could risk no sort of answer by this time: my heart was still. 'Because,' he said, 'I sometimes have a queer feeling with regard to you- especially when you are near me, as now: it is as if I had a string somewhere under my left ribs, tightly and inextricably knotted to a similar string situated in the corresponding quarter of your little frame. And if that boisterous Channel and two hundred miles or so of land come broad between us, I am afraid that cord of communion will be snapt; and then I've a nervous notion I should take to bleeding inwardly. As for you,- you'd forget me.' 'That I never should, sir: you know-' Impossible to proceed. 'Jane, do you hear that nightingale singing in the wood? Listen!' In listening, I sobbed convulsively; for I could repress what I endured no longer; I was obliged to yield, and I was shaken from head to foot with acute distress. When I did speak, it was only to express an impetuous wish that I had never been born, or never come to Thornfield. 'Because you are sorry to leave it?' The vehemence of emotion, stirred by grief and love within me, was claiming mastery, and struggling for full sway, and asserting a right to predominate, to overcome, to live, rise, and reign at last: yes,—— and to speak.
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