Jane likes the place better now that it has a master. Jane isn't pleased with the "additional ceremony" of dressing up for tea with Rochester. Jane again notes the firm, decisiveness of his face, which is imposing rather than beautiful. Rochester's stiff, impatient formality with Jane intrigues her more than "finished politeness" would have.
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Questioning her about her family and discovering that her parents are dead, Rochester concludes that Jane is a fairy. He then judges her accomplishments, her piano playing and drawing. While he finds her playing average, Rochester is impressed by Jane's drawings.
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At nine o'clock, Rochester dismisses the women. Fairfax tells Jane more of Edward Rochester's history. His father, Old Mr. Rochester, and brother, Rowland, plotted against him, so Edward was forced into a painful position, of which Mrs. Fairfax knows nothing. Edward broke away from the family, only returning to Thornfield nine years ago when his brother died and he thus inherited the property.
The relationship between Jane and Rochester develops in this chapter. Rochester is a grim and unfriendly man, but Jane enjoys his gruffness, because she wouldn't have known how to respond to grace, elegance, or politeness.
Because Rochester is so natural, not acting a part, Jane feels she can also be open and honest during her interactions with him. Continuing with the mythic, almost supernatural theme of their initial encounter, Rochester reveals that he thought Jane was a fairy who had bewitched his horse when they first met. Rochester repeatedly refers to Jane as a sprite or elfin character, claiming that the "men in green" are her relatives, repeating the associations between Jane and fairies that began early in the novel, and emphasizing the mystical aspects of her personality.
As an orphan, Jane's past and future are both open; she is not required to cater to anyone else's desires for her; if she wants to claim fairies for kin, she can.
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Significantly, both Jane and Rochester give their initial meeting a fairy-tale significance, suggesting their relationship will be ideal or special in some way. After gazing at her drawings, Rochester finds that they, too, are "elfish.
As Rochester notes, the drawings are not typical schoolgirl productions, but have strange, sometimes violent subjects: a drowned corpse; a vision of the Evening Star with dark and wild eyes; and a colossal head resting upon an iceberg. The four young lovers and an imbecilic actor are entangled in a love game, puppet-mastered by Oberon and Puck.
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Ultimately, Shakespeare makes the point that love cannot be trusted to withstand any length of time and that lovers are made into fools. Finally, Shakespeare provides two examples of choosing powerful unions over amorous ones. First, there is the tale of Theseus and Hippolyta. Rather than courting and loving her, Theseus conquered and enslaved her. He creates the union for solidarity and strength between the two kingdoms.
Next is the example of Oberon and Titania , whose separation from each other results in the world becoming barren. Share Flipboard Email.
Adam Burgess, Ph.