A Literary Look Inside the Works of Brontë and Angelou
Excerpt from Charlotte Brontë, Jane Eyre (1847)
Mr. Rochester explains to Jane how he ended up with an insane wife:
“Well, Jane, being so, it was [my father’s] resolution to keep the property together; he could not bear the idea of dividing his estate and leaving me a fair portion: all, he resolved, should go to my brother, Rowland. Yet as little could he endure that a son of his should be a poor man. I must be provided for by a wealthy marriage. He sought me a partner betimes. Mr. Mason, a West India planter and merchant, was his old acquaintance. He was certain his possessions were real and vast: he made inquiries. Mr.Mason, he found, had a son and daughter; and he learned from him that he could and would give the latter a fortune of thirty thousand pounds: that sufficed. When I left college, I was sent out to Jamaica, to espouse a bride already courted for me. My father said nothing about her money; but he told me Miss Mason was the boast of Spanish Town for her beauty: and this was no lie. I found her a fine woman, in the style of Blanche Ingram: tall, dark, and majestic. Her family wished to secure me because I was of a good race; and so did she. They showed her to me in parties, splendidly dressed. I seldom saw her alone, and had very little private conversation with her. She flattered me, and lavishly displayed for my pleasure her charms and accomplishments. All the men in her circle seemed to admire her and envy me. I was dazzled, stimulated: my senses were excited; and being ignorant, raw, and inexperienced, I thought I loved her. There is no folly so besotted that the idiotic rivalries of society, the prurience, the rashness, the blindness of youth, will not hurry a man to its commission. Her relatives encouraged me; competitors piqued me; she allured me: a marriage was achieved almost before I knew where I was. Oh, I have no respect for myself when I think of that act!—an agony of inward contempt masters me. I never loved, I never esteemed, I did not even know her. I was not sure of the existence of one virtue in her nature: I had marked neither modesty, nor benevolence, nor candour, nor refinement in her mind or manners—and, I married her:—gross, grovelling, mole-eyed blockhead that I was!
“My bride’s mother I had never seen: I understood she was dead. The honeymoon over, I learned my mistake; she was only mad, and shut up in a lunatic asylum. There was a younger brother, too—acomplete dumb idiot. The elder one, whom you have seen (and whom I cannot hate, whilst I abhor all his kindred, because he has some grains of affection in his feeble mind, shown in the continued interest he takes in his wretched sister, and also in a dog-like attachment he once bore me), will probably be in the same state one day. My father and my brother Rowland knew all this; but they thought only of the thirty thousand pounds, and joined in the plot against me.”
“Jane, I will not trouble you with abominable details: some strong words shall express what I have to say. I lived with that woman upstairs four years, and before that time she had tried me indeed: her character ripened and developed with frightful rapidity; her vices sprang up fast and rank: they were so strong, only cruelty could check them, and I would not use cruelty. What a pigmy intellect she had, and what giant propensities! How fearful were the curses those propensities entailed on me! Bertha Mason, the true daughter of an infamous mother, dragged me through all the hideous and degrading agonies which must attend a man bound to a wife at once intemperate and unchaste.
Excerpt from Maya Angelou, “And Still I Rise” (American, 1978)
You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I’ll rise.
Does my sassiness upset you?
Why are you beset with gloom?
‘Cause I walk like I’ve got oil wells
Pumping in my living room.
Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I’ll rise.
Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?
Does my haughtiness offend you?
Don’t you take it awful hard
‘Cause I laugh like I’ve got gold mines
Diggin’ in my own backyard.
You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I’ll rise.
Does my sexiness upset you?
Does it come as a surprise
That I dance like I’ve got diamonds
At the meeting of my thighs?
Out of the huts of history’s shame
I rise
Up from a past that’s rooted in pain
I rise
I’m a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that’s wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.
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Jane Eyre Excerpt Through a Postcolonial Theory Lens
Title of chosen passage: Charlotte Brontë, Jane Eyre(1847)
Through a Postcolonial Theory lens, this analysis examines the representation of Bertha Mason in an excerpt from Charlotte Brontë's novel Jane Eyre. The excerpt reveals the circumstances of Mr. Rochester's marriage to Bertha, a Creole woman, through colonial influences, power dynamics, and use of the "Other" (i.e., "not us"). Present in the excerpt is Orientalism, which reinforces stereotypes and biases of the "other," the impact of colonization on relationships, and the discourse that justified a British Empire.
Postcolonial Theory critics look to expose instances of imperialist ideas and their discourse in literature. Some essential terms in this discipline are "Other," colonial discourse, imperialism, and subaltern. The term "Other" describes any nonwhite or native individual/group different from the dominant culture of colonizers. This process establishes a racial hierarchy of "superior" beings who legitimize control and dehumanization of the "inferior," which reinforces colonization ideology. Colonial discourse refers to the constructed colonial ideologies (i.e., "Other") and the justification of those actions. Imperialism is when a country extends its power and influence on other countries and "claims control over those lands" for its benefit. This practice is a crucial term involving colonization's implicit and explicit dominance, which helps theory critics understand power dynamics and cultural influence. In the context of Postcolonial Theory, subaltern refers to those marginalized due to colonization.
In addition to essential terms, Postcolonial Theory has significant defining characteristics. First, examining colonial discourse aims to deconstruct beliefs and ideologies that support colonialism. For example, Bertha's perspective is not present in the excerpt. Highlighting Bertha's lack of voice in the narrative is representative of how colonizers silence indigenous people. Another defining characteristic is the concept of Orientalism developed by Edward Said. This foundational aspect shows how Western literature often paints oversimplified images of the East by romanticizing it as exotic, leaving the West to idealize this Eastern image as lesser than. In the excerpt, Bertha is called "the true daughter of an infamous mother," indirectly labeling her inherently "mad."Orientalism allows postcolonial critics to examine how "Others" are represented in literature and how that contributes to stereotyping and power dynamics in literature.
Postcolonial Theory offers several insights into this excerpt from Jane Eyre. Most notable are the power dynamics between Mr. Rochester and Bertha Mason and the examples of the Orientalism trope of her as the "Other." Mr. Rochester's union with a Jamaican woman reassures his dominance in society when he claims, "Her family wished to secure me because I was of good race; and so did she." Before his eyes cast a gaze on her, he is sure of his "superiority" and her compliant "inferiority." In the excerpt, this line shows the reader the power imbalance of a subaltern marriage and how the colonial structures influence the couple's interactions or lack thereof.
Before the wedding, Mr. Rochester romanticizes Bertha's beauty by referring to her as "tall, dark, and majestic" and is "presented" to him for his pleasure leading up to the nuptials. These descriptors showcase Orientalism – Mr. Rochester's perceptions of the exotic foreigner show that she is inherently different from him. After they are married, Bertha is labeled "mad" with "pygmy intellect," while her mother is "mad," and her brother is"a complete dumb idiot" or "dog-like." This portrayal of Bertha and her family reinforces negative colonial stereotypes and sheds light on the attitudes toward the "Other." Choosing this approach was fueled by the insights gathered on the dominant culture's (i.e., the British Empire's) effects on society and the stereotypes it creates and continues to uphold. Postcolonial Theory uncovers these aspects and shows how they contribute to colonial discourse in literature.
There are two distinct advantages to using this theory: uncovering power dynamics and examining the"Other." Uncovering power imbalance and its relation to colonial hegemony illuminates how "Western powers may control the formerly colonized by nonviolent means..." In other words, literature, such as Jane Eyre, contributes to an ongoing power imbalance and, when deconstructed, provides insight into how that power has impacted interactions, choices, and roles within the narrative and in society. An example of this in the excerpt is Mr. Rochester's complete narrative control. Examining the "Other," Postcolonial Theory elucidates how literature reinforces stereotypes. Bertha Mason represents the "Other" as a Jamaican Indian woman (subaltern and nonwhite) who is wanted for her exotic beauty (Orientalism) but is quickly labeled "insane" (lesser-than) when she does not behave in a suitable way (control of the "other") for Mr. Rochester. This approach allows critics to understand how Mr. Rochester conforms to the structures that keep him in power over the "Other."
When applying this theory, the reader's interpretation becomes more important than the author's intent. Although a common disadvantage of using any one theory, solely using a postcolonial lens, for example, would miss the intersectionality of Bertha and how she is treated as a woman and not just as an "Other." Another disadvantage is the possible oversimplification of characters such as Mr.Rochester. Often, in literature, characters have complex and multidimensional traits. Focusing a postcolonial lens on Bertha Mason would overlook the intricacies of her identity. For a more well-rounded analysis, critics can accompany a Postcolonial lens with other theories, such as Feminist or Marxist Literary Theory.
Postcolonial Theory informs this interpretation by revealing how colonization is represented in literary works. Jane Eyre shows how nineteenth-century British literature promotes the values of conquest and colonization. By closely examining Mr. Rochester's portrayal of events, it becomes apparent that the passage has themes of power and Orientalism. Without this lens, Mr. Rochester merely states his perspective: Bertha tricked him into a span of misery. With a different lens, there are other themes apparent that Postcolonial Theory does not evoke. For example, Bertha's perspective is missing entirely, giving a critic many options, like Feminist Theory, for analyzing this chosen passage. Applying Feminist Theory to this excerpt would shift the focus of this analysis to the portrayal of women. One can examine power, gender roles, or societal expectations. The absence of Bertha's (and Jane's) perspective combined with Mr. Rochester's emphasis on her beauty lends an understanding of how society values the opinion of men and what physical or monetary worth is assigned to women in the narrative. For example, Bertha's dowry of thirty thousand pounds would "suffice," and her beauty was all that made her desirable. Both theories examine Bertha's value but in different lights.
Emerging from a post-World War II mindset, Postcolonial theory significantly influenced societal trends. First, this theory prompted critics and academics to reevaluate history, specifically colonial aspects, which challenged traditional narratives that supported and upheld colonial structures. This process led to an understanding of the consequences of imperialist ideologies and the psychological effects of colonialism. Another significant impact was the recognition of formerly colonized people. Understanding the diverse perspectives of society challenges the stereotypes and constructed narratives of "Others." These critical reflections promote inclusivity and reshape the academic landscape.
An influencing factor of postcolonial theory was the "anguish of the colonized who have to deal with the aftermath of colonization." This theory was a response to the legacy of colonialization. Edward Said's concept of Orientalism also helped critics diagnose how "imperialism worked in the realm of intellectual and cultural discourse." Urging these concepts to emerge was literature produced by"postcolonial" writers deconstructing and validating the impact of colonial discourse. Many perspectives, particularly those of marginalized or colonized people, were missing in literature and academia. This theory helps bring to light the atrocities, consequences, and effects of building an imperialistic empire. A similar approach is Ethnic studies in that it "directs attention to works that reflect the viewpoints of diverse ethnic groups..." However, Ethnic Studies focuses on the United States, whereas Postcolonial Theory focuses on the British Empire. In addition, Ethnic Studies was a product of the Civil Rights era with a heavier focus on ethnicity and the atrocities of American slavery.
Literary theory profoundly contributes to the interpretation of literature. Theory provides new perspectives, frameworks for analysis, and tools for understanding literary texts. Postcolonial Theory helps to uncover power dynamics and the cultural discourse of imperialism. Feminist theory can also unveil power dynamics but began a political movement focusing on the representation of women in literature. Another theory, Formalism, explains a text's structure and genre conventions. Each theory has its unique focus, revealing its meaning, from literary elements to social injustices. Learning each theory contributes to an understanding of the world. Readers, authors, and critics must learn the intricacies of theory and how it impacts our interpretations, representations, and analyses.
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"And Still I Rise" Excerpt Through a Feminist Theory Lens
Title of second chosen passage: Maya Angelou, "And Still IRise" (American, 1978)
Through a Feminist Literary Theory lens, this analysis examines women's experiences from Maya Angelou's poem," And Still I Rise." This passage emphasizes the reclamation of identity and the importance of women's voices through defiant tone and language. Historical and cultural resonance is revealed through Angelou's choice of words, showcasing the violence against and subordination of women. These aspects, through a feminist lens, challenge sexist, patriarchal power structures.
Feminist Literary Theory, as does all feminist activity, aims to "change the world by promoting gender equality." Some important terms used under this lens are patriarchy, reclamation, sexism, and gender roles. Patriarchy is an oppressive system of society in which men hold power and women are largely excluded from it. This social system constructs cast types of inequality between men and women, including political, moral, and social privilege. Reclamation is the process of claiming something back and is a significant theme of this poem, specifically the reclamation of female voices. Sexism is stereotyping and discrimination based on sex and is typically against women. Lastly, gender norms refer to the expectations associated with being male or female.
In addition to essential terms, Feminist Theory has significant defining characteristics. First, there is the critique of patriarchy and its historical oppression of women. This critique aims to confront the social norms of gender-based inequalities. For example, Angelou's confrontational language in a bold and confident tone challenges patriarchy's subordination of women. "Does my sassiness upset you? / Why are you beset with gloom? 'Cause I walk like I've got oil wells / Pumping in my living room." This stanza challenges the expectation that women should hold passive, dependent roles in society. Another defining characteristic of Feminist Theory is the critique of stereotypes. Stereotypically, women are seen in domestic roles and are polite and accommodating. This passage reflects society's negative attitudes toward women who are confident, assertive, and independent of men financially or otherwise.
Feminist Theory offers significant insight into the female experience through the poem "And Still I Rise." Most notable are defiance against societal structures, the rejection of violence, and the reclamation of the female voice. The narrator takes a defiant stance by challenging patriarchy and the historical misrepresentation of women. The opening line, "You may write me down in history / With your bitter, twisted lies," rejects how women have been historically defined in literature, such as passive, helpless, sexualized, or irrational. The narrator also refuses to defeat this oppression by consistently repeating, "I rise," which captures the theme of defiance while validating the continuous oppression that figuratively knocks women down. When paired with other words such as "shoot," "cut," and "kill, "the narrator rejects the disproportionate violence against women by defiantly"rising" again and again. "Did you want to see me broken?"A rhetorical question is prompted, alluding to rebellious tones while confirming the experience of women. This question challenges the expectations that women should conform to societal norms to appease men or avoid making them uncomfortable. These insights collectively reclaim the female voice by rejecting the ideologies of patriarchy, such as the normalization of violence.
Further, specific language choices resist patriarchy and stereotypes of women with words such as"haughtiness," "sassiness," and "sexiness." These defiant words portray the narrator in an assertive and confident light instead of a negative and incorrect stereotypical one where women should be modest, humble, and without autonomy. Choosing this approach was fueled by the impact of patriarchy on women and the harmful stereotypes and expectations it embodies. These insights uncovered a celebration, resilience, and defiance against oppression. Analyses of this caliber offer the framework for social change and pathways toward equality by including the perspective of women from a woman's point of view.
Using this theory has two distinct advantages: reclamation of female identity and uncovering power dynamics. Reclaiming one's female voice asserts nonconformity against the historical silencing of women. Poems such as Angelou's "And Still I Rise"present this assertion by giving the female narrator agency. "Does my haughtiness offend you? / Don't you take it awful hard..." This line shows the narrator's refusal to bend to the emotional needs of men who are made uncomfortable by a woman saying no. In other words, the narrator refused to stay silent and obedient, challenging the narratives imposed upon women. Uncovering issues of power in the ways women "rise again" illustrates the narrator's resilience. The line, "You may trod me in the very dirt," represents the degrading and oppressive actions of those who uphold the patriarchy. Symbolically, this line challenges anyone who tramples her. This approach allows critics to expose deeply oppressive systems and the imbalance of power in patriarchal societies. This theory can also explain the female spirit's resilience and enduring nature.
When applying strictly a feminist lens, a critic risks overlooking universal themes that transcend gender, such as the deeper aspects of intersectionality (the intersection of one's race, gender, sexuality, etc.). The aspects of this poem challenge sexist, patriarchal structures as loudly as they challenge structural racism. Combining this lens with New Historicism could offer a more well-balanced analysis of the resilience of black women. This perspective would entail a deeper understanding of the racial bias Maya Angelou experienced in 1978 when she wrote the poem. Another disadvantage of solely applying a feminist lens would be that it would overlook other dimensions, such as slavery and violence against black people. For a more well-rounded analysis, critics can accompany Feminist Theory with others, such as New Historicism.
Feminist Theory informs this interpretation by revealing themes of resilience, defiance, and the reclamation of the female voice. By closely examining the tone and language used throughout the poem, it becomes apparent that oppressive structures are under scrutiny by the narrator. "Leaving behind nights of terror and fear / I rise."This defiant perspective rejects the weight of oppression by highlighting that women will no longer carry what is not theirs by reclaiming what is theirs. Without this lens, the poem opens up to various interpretations outside of gender dynamics, societal expectations, and the historical struggle of women. Other theories, such as New Historicism, can offer a deeper analysis of the African American experience in 1970s America. In addition, this alternate lens would delve into the intricacies of slavery and its impact on the black community, offering an alternate approach to social activism in literary analysis. Using both Feminist and New Historicism Literary Theories together could bring together the intersectionality present in the author's life and within the words of the poem.
Feminist Theory significantly influenced social trends in many ways during the development in the 1960s and1970s. First, the women's liberation movement during this time, also known as second-wave feminism, inspired Feminist Literary theory to blossom. The theory shared the same concerns as the movement, including gender equality and power imbalance between men and women. Another notable influence was women's liberation in literature. Feminist Theory also studies literature by women for how it expresses the particularity of women's lives. Further, this theory studies the canonical texts by male authors through a feminist lens, exposing how women have been represented. These aspects increased activism within women's liberation, helping to change attitudes toward gender roles in literature.
A major influential factor of feminist theory was the first and second waves of feminism. These factors laid the groundwork for women's legal protections and broader issues like gender inequality. The Women's Liberation Movement inspired Feminist Theory to apply activist knowledge to the field of literature. In doing so, many more oppressive insights were uncovered, leading scholars and critics to connect women's vastly underrepresented voice to all literature, not just work produced by women. Historical events gave birth to Feminist Literary Theory because women's voices were missing from literature, or they were represented in harmful, negative lights that perpetuated stereotypes. A similar approach is Gender Studies because it explores identity and power dynamics issues. Both theories examine structures of power and systems of oppression, aiming to promote inclusivity and the understanding of complex dynamics within literature. However, where the primary focus in Feminist Theory is challenging gender-based power imbalance, Gender Studies transcends the gender binary, encompassing a broader study of gender as a social construction.
Literary theory profoundly contributes to the interpretation of literature. Theory provides new perspectives, frameworks for analysis, and tools for understanding literary texts. Feminist Theory began as a political movement and now unveils societal expectations as well as exposes patriarchal aims such as denying women power. New Historicism emphasizes the importance of historical conditions in literature, seeking to uncover how texts are shaped by the surrounding moments. Marxist Literary Theory, like Feminist Theory, shares an interest in social change. At the same time, critiquing ideologies – a Marxist critique would involve a class-based analysis, whereas a Feminist one would be gender-based. Each theory has its unique focus, revealing its meaning, from literary elements to social injustices. Learning each theory contributes to an understanding of the world. Readers, authors, and critics must learn the intricacies of theory and how it impacts our interpretations, representations, and analyses.
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Why These Theories Matter
Literary theory is crucial for the interpretation of literature. It provides frameworks, perspectives, and tools that help readers understand the complexities of literature. Each theory is nuanced and unique in that it focuses on specific types of analysis, from historical to genre constructs to social activism. Applying theory to literary texts allows readers to think more critically and reflectively about literature and the cultures in which it was produced. Literary theory has influenced my understanding of literature in a few ways.
Most importantly, I have gained new perspectives on any story I consume. I can see underlying genre structures because of Formalism. Marxist theory shows me how some literature, like Jane Austen, reflects and perpetuates ruling class ideologies. With the many theoretical lenses, I can now see diverse perspectives where I might not have seen them before. This knowledge will change my outlook on the world as I continue to consume and write literature. These perspectives alone are worth the time and effort because they promote inclusivity and a broader understanding of the world that created them.
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References
Ryan, Michael. LiteraryTheory: A Practical Introduction. Available from: MBS Direct, (3rd Edition).Wiley Global Research (STMS), 2017.
"FeministTheory Introduction." Scmoop, 10 Dec.2023, www.shmoop.com/study-guides/literary-schools-of-theory/feminist-theory.Accessed 10 Dec. 2023.
Mary Klages. Literary Theory: A Guide forthe Perplexed. Continuum, 2006. EBSCOhost,search.ebscohost.com/login.aspx?direct=true&db=nlebk&AN=377716&site=eds-live&scope=site.
"PostcolonialTheory Introduction." Scmoop, 10 Dec.2023, www.shmoop.com/study-guides/literary-schools-of-theory/postcolonial-theory.Accessed 10 Dec. 2023.
Mercadal, Trudy. “Postcolonialism.” Salem Press Encyclopedia, 2022. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=ers&AN=94895788&site=eds-live&scope=site.
"FormalismIntroduction." Scmoop, 10 Dec.2023, www.shmoop.com/study-guides/literary-schools-of-theory/formalism.Accessed 10 Dec. 2023.
"MarxismIntroduction." Scmoop, 10 Dec.2023, www.shmoop.com/study-guides/literary-schools-of-theory/marxism. Accessed10 Dec. 2023.
Brontë,Charlotte. Jane Eyre: An Autobiography. vol.eBook #1260, Project Gutenberg, 1998.
MayaAngelou. "And Still I Rise." PoetryFoundation, 10 Dec. 1978,www.poetryfoundation.org/poems/46446/still-i-rise. Accessed 10 Dec. 2023.
