Fire and Water Imagery in Jane Eyre In Jane Eyre, the use of water and fire imagery is very much related to the character and/or mood of the protagonists (i.e. Jane and Rochester, and to a certain extent St. John Rivers) -- and it also serves to show Jane in a sort of intermediate position between the two men. However, it should also be noted that the characteristics attributed to fire and water have alternately positive and negative implications -- to cite an example among many, near the beginning of the novel, reference is made to the devastating effects of water ("ceaseless rain sweeping away wildly", "death-white realm" [i.e. of snow]), and fire is represented by a "terrible red glare"; later, fire is represented as being comforting in Miss Temple's room, and it is water that saves Rochester from the first fire. These literal associations with fire and water become increasingly symbolic, however, as the novel progresses, where the fire / water / (ice) imagery becomes a representation of the emotional and moral dialectic of the characters, and it also becomes increasingly evident that the positive and negative potentialities of fire and water also show the positive and negative potentialities of the characters whom they represent.
As Montag gains new perspectives on fire readers are shown that fire is a very prominent symbol with multiple meanings. Bradbury first depicted fire as a hurtful force through Montag, a fireman, who burn books. With the converted mentality of his culture, “it was [Montag’s] pleasure to burn. It was a special pleasure to see things eaten, to see things blackened and changed” (3). Montag’s culture sees burning as an enjoyment; however, the fire portrayed here demonstrates the destruction of knowledge and personality.
A dark, smoggy night in the middle of winter, chills were running through the rooms of the house, like a ghost silently coming and silently going. Suddenly, in the distance, there was a faint booming sound like a drum being beaten. The noise soon started to get louder and louder and louder until all that could be heard was the deafening noise. People from houses along the street ran out in their dressing gowns onto the road and huddled together to witness a roaring fire devastating the house of a family living nearby. The owners of the house desperately attempted to remove valuable and sentimental items from the burning wreck, but all was in vain as the glaring fire obliterated their irreplaceable possessions and their home.
On her return, she finds Thornfield to be a "blackened ruin" due to a fire which has left Rochester blind with only one arm and killed his wife. Jane goes to Rochester's new home, and they are married. Jane's 'physical' journeys contribute significantly to plot development and to the idea that the novel is a 'journey' through Jane's life. "Jane Eyre's" chronological structure... ... middle of paper ... ...law, and scorned and crushed the insane promptings of a frenzied moment." To start with, Jane is oppressed by her aunt and is allowed no will of her own, she is completely "a dependant" and has "no money".
Dido’s love for Aeneas exemplifies the internal turmoil that afflicts individuals when they are deprived of the love that they crave so ardently. Virgil accomplishes this through the incorporation of the symbol of fire and through the platonic metaphor of the war between reason and appetite in his work. Virgil uses the dual nature of fire to depict the change in the disposition of Dido’s relationship with Aeneas. Fire is a common literary symbol for the erotic and passionate attribute of love yet; it can also be an extremely destructive force in nature. The text confirms that Dido is completely enamored with Aeneas when it says, “ The queen is caught between love’s pain and press.
The monster appears on the scene and is miserable at the death of his "father". The monster is visibly miserable and he shows this by weeping over the corpse of Frankenstein and then by vowing to commit suicide. This increases the drama of this final scene. This final scene of the film contrasts with the dramatic scene of the death of Elizabeth where the fire and the fast and heavily scored music increases the drama. The darkness of the building placed with the orangey-yellow glare of the fire as Elizabeth runs through the Frankenstein mansion towards the camera creates a commotion and increases the excitement.
a twist. All these elements add to the tension and overall atmosphere of a nineteenth century ghost story. The first element that will be touched upon is the addition of the conventional features of a ghost story. These can include candles, moonlight, firelight, shadows and darkness. The distortion of light is a very effective way to create shadow, thus creating tension.
Choices that are made because of passion set the course of The Scarlet Letter, from Hester and Dimmesdale’s adultery to Chillingworth’s fierce hatred. The character’s emotions are the fire that fuels the plot of this novel, and without them there would be no story. The consequences each character must bear as a result of their emotions are also an essential part of the plot; they are their physical and emotional scars. The metaphor of fire as passion can be found in countless places in literature, but Hawthorne expands on the comparison to include every aspect of fire and an enormous range of human emotions. Although they may be consumed with love or hatred, joy or rage, the flame of passion shines through all the main characters of The Scarlet Letter.
We see a form of love in both movies that is rarely depicted as the main theme in Disney movies, familial love. Although many other Disney movies portray it, none of them have ever been the central focus of the movie. In Brave, we see that Merida has no interest in marrying, and throughout the movie, her relationship with her mother is the force that pushes the story forward. In Frozen, Elsa’s relationship wither her sister is the main factor in the movie, as everything that happens is the result of Elsa’s true love for Anna. Hence, both movies feature true love in the sense of familial love as opposed to romantic love.
Secondly, Miranda also serves as the ultimate fantasy for any male who (like Ferdinand) is a bachelor. She is extremely beautiful, she is intelligent, and she has never been touched (or even seen) by another male. Shakespeare makes Miranda even more desirable by including the fact that she has never seen or even talked to another man (with the obvoius exception of Prospero). Miranda personifies the ultimate source of good in the play, and provides the ultimate foil for the evil character of Caliban. When Ferdinand is forced to chop wood by Prospero, Miranda offers to do it for him.