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based on facts, not emotion; a style of writing, developed in the nineteenth century, that attempts to depict life accurately without idealizing or romanticizing it. 1850s - early 1900s |
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does not fit chronologically; assignment of something to a time when it was not in existence, e.g. the watch Merlyn wore in The Once and Future King. |
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correspondence between dissimilar elements; similarity comparison made between two things to show how they are alike. |
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denotes qualities that are attributes of persons/things; the observable or "physical" is usually described in concrete language. |
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a type of verbal irony in which, under the guise of praise, a caustic and bitter expression of strong and personal disapproval is given (Ms. K uses this too often). |
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a movement: idealization of people, places, etc. a revolt against Rationalism that affected literature and other arts, beginning in the late eighteenth century and remaining strong throughought most of the nineteenth centurey. early 1800s - 1870s. |
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the author tells us directly what the character is like: sneaky, generous, meant to pets and so on. |
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a tale designed to illustrate a moral principle; a relatively short story that teaches a moral, or lesson about how to lead a good life. |
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style of communication/diction; art of effective communication, especially persuasive discourse. |
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emotional response disproportionate to the situation, and thus to substitue heightened and generally unthinking feeling for normal ethical and intellectual judgement; overindulgence of emotion. |
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a short poem, whether amorous, elegiac, meditative, complimentary, or satiric. |
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ridiculously inferior imitation; mocks a particular work but does it by treating a loft subject in an undignified manner. |
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continuous flow of thoughts. |
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expressing a nostalgic image of the peace and simplicity of the life of the shepherds and other rural folk in an idealized natural setting. |
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a verbal expression which is brief and intentionally contrived to produce shock; a quickness of intellect |
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a movement: rebirth or revival of intellectual or artistic achievement and vigor; often called the birth of the modern world. 14th-16th centuries. |
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The process by which an unhealthy emotional state produced by an imbalance of feelings is corrected and emotional health is restored; release of emotion. |
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a movement: revellion against all restraints of free artistic creativity in painting, sculpture, and literature; attempts to express the workings of the subconscious and is characterized by fantastic imagery and incompatible union of subject matter. Early 1920s onward. |
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Indirect Characterization |
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the author reveals to the reader what the character is like by describing how the character looks and dresses, by letting the reader hear what the character says, by revealing the character's private thoughts and feelings, by revealing the characters effect on other people. |
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uncertainty; two meanings that are incompatible; deliberately suggestion two or more different, and sometimes conflucting, meanings in a work. |
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a narrator, a poet, a storryteller; Shakespeare is considered the classic example. |
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in both art and literature, a ridiculous or grotesque likeness of a person or thing. |
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fiction characterized by highly fanciful or supernatural elements; unrestrained fancy. |
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a twentieth century movment that emphasized the uniqueness and isolation of the individual experience in a hostile or indifferent universe; stressed freedom of choice and responsibility for the consequences of one's acts. |
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a nineteenth century literary movement that was an extension of realism and that claimed to portray life exactly as it was. late 1800s - mid 1900s. |
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an anticlimax, a passionate moment that becomes trivial; when writers overshoot the mark and become trivial or ridiculous. |
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a statement that appears self-contradictory, but that reveals a kind of truth. |
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a narrative in which characters, settings, and events stand for other people or events or for abstract ideas or qualities. |
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a very short story told in prose or poetry that teaches a practical lesson about how to succeed in life; moral tale on human behavior sometimes illustrated through animals. |
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brief story, told to illustrate a point or serve as an example of something, often shows character of an individual. |
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an exaggerated imitation of a usually more serious work for humorous purposes; the writer uses the quirks of style of the imitated piece in extreme or ridiculous ways. |
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verbose and inflated language that is disproportionate to the matter it expresses; pretentious, pompoous speech or writing. |
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an intellectual and cultural movement beginning in the Renaissance based on the recovery, interpretation, and imitation of Greek and Roman antiquity; an optimistic view of human potential. 14th - 17th century. |
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a quality that arouses feelings of pity, sympathy, or sorrow; over-emotionalism can be the result of an excess of this. |
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term used in existential criticism to describe both the individual and the collective neurosis of the period following the Second World War. This feeling of anxiety, dread, or anguish is notably present in the works of writers like Jean Paul Sartre and Albert Camus. |
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mockery, exaggerated imitation, a form of satire; the high version is often called parody or mock epic and the low version is often called a travesty. |
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a German movement in literature and other arts that emphasized subjective expression of the artist's expereiences; a radical revolt against realism. 1910-1925. |
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recurrent thematic element in an artistic or literary work. |
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a nineteenth-century movment in literature and art which advocated a recording of the artist's personal impressions of the world, rather than strict representation of reality. |
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language that describes specific, observable things, people or places, rather than ideas or qualities. |
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Central character who lacks all the qualities traditionally associated with heroes; may lack courage, grace, intelligence, or moral scruples. |
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The use of a word or phrase that is less direct, but is also considered less distasteful or less offensive than another. Example "He is as rest" instead of "He is dead". |
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A scene that interrupts the normal chronological sequence of events in a story to depict something that happend at an earlier time. |
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These "images" of character, plot pattern, symbols recur in literature and evoke profound emotional responses in the reader because they resonate with an image already existing in our unconscious mind, e.g. death, rebirth. |
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Use of hints and clues to suggest what will happen later in a plot. |
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When the author addresses you, the reader, directly. It is often interfering and can be nonsensical. |
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Occurs whne someone says one thingbut really means something else. |
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A character that does not change much in the course of a story. |
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Takes place when there is a descrepancy between what is expected to happen, or what would be appropriate to happen, and what really does happen. |
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A character in the play or story thinks one thing is true, but the audience or reader knows better. |
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Character that have only one or two personality traits. They are one dimensional, like a piece of cardboard. They can be summed up in one phrase. |
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A term for the bold new experimental styles and forms that swept the arts and literature during the first third of the twentieth century which makes self-conscious break with previous genres. 1920s-1945. |
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Characters who have more dimensions to their personalities -- they are complex, just as real people are. |
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A movement that began in Europe in the sevententh century, which held that we can arrive at the truth by using our reason rather than relying on the authority of the past, on the authority of the Church, or an institution. 1770s - early 1800s. |
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A word or phrase, often a figure of speech that has become lifeless because of overuse. |
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A literary movement that originated in late ninettenth century France, in which writers rearranged the world of appearances in order to reveal a more truthful version of reality. |
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Word or phrase in everyday use in conversation and informal writing that is inappropriate for formal situations. Example: "He's out of his head if he thinks I'm gonna go for such a stupid idea." |
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A nineteenth century movment in the Romantic tradition, which held that every individual can reach ultimate truths through spiritual intruition, which goes beyond reason and sensory experience. |
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A persistent feeling of tiredness or weariness which often afflicts existential man, often manifesting as boredom. |
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A writer often adopts a fictional voice to tell a story. The role that one assumes or displays in public or society. |
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Language spoke by the people who live in a particular locality. |
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Ivanhoe:
"Sir Templar," said he, "the cheeks of our Saxon maidens have seen too little of the sun to enable them to bear the fixed glance of a crusader." |
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Ivanhoe:
"By my halidom," said he, "we have forgotten, Sir Prior, to name the fair Sovereign of Love and of Beauty, by whose white hand the palm is to be distributed. For my part, I am liberal in my ideas, and I care not if I give my vote for the black-eyed Rebecca." |
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Ivanhoe:
"From your master," said he, "I will accept neither arms nor ransom. Say to him in my name, that our strife is not ended---no, not till we have fought as well with swords as with lances---as well on foot as on horseback. To this mortal quarrel he has himself defied me, and I shall not forget the challenge.---Meantime, let him be assured, that I hold him not as one of his companions, with whom I can with pleasure exchange courtesies; but rather as one with whom I stand upon terms of mortal defiance." |
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Pride and Prejudice:
Hertfordshire
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The country where the Bennets home is placed. |
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Pride and Prejudice:
Lucas Lodge |
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The home of Elizabeth's best friend, Charlotte. |
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Pride and Prejudice:
Longbourn |
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Pride and Prejudice:
Meryton |
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The town near the Bennet's home, where the militia is temporarily stationed. |
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Pride and Prejudice:
Netherfield Park |
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The name of the place Bingley rented. |
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Pride and Prejudice:
Catherine |
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The Bennet daughter called Kitty. |
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Pride and Prejudice:
Elizabeth
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The daughter describd by Darcy as, "tolerable, but not handsome enough to tempt me." |
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Pride and Prejudice:
Jane |
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The beautiful Bennet daughter who never finds fault with anyone. |
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Pride and Prejudice:
Lydia |
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The youngest Bennet daughter, who, at fifteen, is in public at an early age. |
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Pride and Prejudice:
Mary |
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The studious and plain Bennet daughter. |
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Pride and Prejudice:
`Your conjecture is totally wrong, I assure you. My mind was more agreeably engaged. I have been meditating on the very great pleasure which a pair of fine eyes in the face of a pretty woman can bestow.'' |
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Pride and Prejudice:
A military life is not what I was intended for, but circumstances have now made it eligible. The church ought to have been my profession -- I was brought up for the church, and I should at this time have been in possession of a most valuable living, had it pleased the gentleman we were speaking of just now.'' |
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Pride and Prejudice:
`Upon my word, Sir,your hope is rather an extraordinary one after my declaration. I do assure you that I am not one of those young ladies (if such young ladies there are) who are so daring as to risk their happiness on the chance of being asked a second time. I am perfectly serious in my refusal. -- You could not make me happy, and I am convinced that I am the last woman in the world who would make you so..." |
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Pride and Prejudice:
"So...your sister is crossed in love I find. I congratulate her. Next to being married, a girl likes to be crossed in love a little now and then. It is something to think of, and gives her a sort of distinction among her companions. When is your turn to come? You will hardly bear to be long outdone by Jane. Now is your time. Here are officers enough at Meryton to disappoint all the young ladies in the country. Let Wickham be your man. He is a pleasant fellow, and would jilt you creditably." |
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Pride and Prejudice:
"I often tell young ladies, that no excellence in music is to be acquired, without constant practice. I have told Miss Bennet several times, that she will never play really well, unless she practises more; and though Mrs. Collins has no instrument, she is very welcome, as I have often told her, to come to Rosings every day, and play on the piano forte in Mrs. Jerkinson's room. She would be in nobody's way, you know, in that part of the house.'' |
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Pride and Prejudice:
``And remember that I have not much reason for supposing it to be Bingley. What he told me was merely this; that he congratulated himself on having lately saved a friend from the inconveniences of a most imprudent marriage, but without mentioning names or any other particulars, and I only suspected it to be Bingley from believing him the kind of young man to get into a scrape of that sort, and from knowing them to have been together the whole of last summer." |
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Pride and Prejudice:
"In vain have I struggled. It will not do. My feelings will not be repressed. You must allow me to tell you how ardently I admire and love you.'' |
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Pride and Prejudice:
``How despicably have I acted!'' she cried. -- ``I, who have prided myself on my discernment! -- I, who have valued myself on my abilities! who have often disdained the generous candour of my sister, and gratified my vanity, in useless or blameable distrust. -- How humiliating is this discovery! -- Yet, how just a humiliation! -- Had I been in love, I could not have been more wretchedly blind. But vanity, not love, has been my folly. -- Pleased with the preference of one, and offended by the neglect of the other, on the very beginning of our acquaintance, I have courted prepossession and ignorance, and driven reason away, where either were concerned. Till this moment, I never knew myself.'' |
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Pride and Prejudice:
"At Brighton she will be of less importance, even as a common flirt, than she has been here. The officers will find women better worth their notice. Let us hope, therefore, that her being there may teach her her own insignificance. At any rate, she cannot grow many degrees worse without authorizing us to lock her up for the rest of her life.'' |
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Pride and Prejudice:
``I say no more than the truth, and what every body will say that knows him, I have never had a cross word from him in my life, and I have known him ever since he was four years old. If I was to go through the world, I could not meet with a better. But I have always observed that they who are good-natured when children are good-natured when they grow up; and he was always the sweetest-tempered, most generous-hearted, boy in the world.'' |
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Pride and Prejudice:
" If you were sensible of your own good, you would not wish to quit the sphere in which you have been brought up. Very well. I shall now know how to act. Do not imagine.... that your ambition will ever be gratified. I came to try you. I hoped to find you reasonable; but, depend upon it, I will carry my point....I take no leave of you.... I send no compliments to your mother. You deserve no such attention. I am most seriously displeased." |
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Pride and Prejudice:
" I have been a selfish being all my life, in practice, though not in principle. As a child I was taught what was right, but I was not taught to correct my temper. I was given good principles, but left to follow them in pride and conceit. , I was spoilt by my parents, who, though good themselves (my father, particularly, all that was benevolent and amiable), allowed, encouraged, almost taught me to be selfish and overbearing; to care for none beyond my own family circle; to think meanly of all the rest of the world; to wish at least to think meanly of their sense and worth compared with my own. Such I was, from eight to eight and twenty; and such I might still have been but for you...By you, I was properly humbled." |
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Jane Eyre:
Jane's late uncle on her mother's side, who jane believes visited her in the red room |
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Jane Eyre:
The nursemaid at Gateshead Hall who shows some attachment to Jane Eyre.
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Jane Eyre:
The superintendent of Lowood Institution, whom Jane wishes to emulate. |
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Jane Eyre:
The overly mature best friend of Jane at Lowood, she dies early from consumption. |
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Jane Eyre:
The nurse or "bonne" of Adele Varens, who is French. |
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Jane Eyre:
Mistress of Gateshead Hall, who takes Jane in against her will. |
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Jane Eyre:
The charity school Jane finds herself in for 8 years. |
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Jane Eyre:
The first "home" Janes knows but is not unhappy to leave behind. |
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Jane Eyre:
Rochester's Dog |
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Jane Eyre:
The imposing house where Jane often hears wild, wicked laughter. |
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Jane Eyre:
Young orphan who grows up, goes to school and find work at Thornfield. |
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Jane Eyre:
The master of Thornfield Hall whose foreboding appearance disrupts his household. |
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Jane Eyre:
The doctor who comes to see Jane and suggests sending her to a school. |
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Jane Eyre:
The widow who brings Jane to Thornfield Hall as governess. |
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Jane Eyre:
The spoiled son who likes to beat Jane for punishment and amusement. |
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Jane Eyre:
The history teacher at Lowood, who often punishes Helen Burns with a whipping. |
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Jane Eyre:
The child of a French woman who becomes Jane's only charge. |
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Jane Eyre:
The cruel, intolerant, money-pinching master of Lowood; he humiliates Jane in public. |
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Jane Eyre:
The beautiful and arrogant woman Rochester leads to believe he wishes to marry. |
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Jane Eyre:
The French opera dancer with whom Rochester once had an affair. |
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Jane Eyre:
The servant who Jane thinks to be the source of midnight laughter she hears. |
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Jane Eyre:
The stranger Jane finds herself caring for in the middle of the night after his injury. |
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Jane Eyre:
" I expected a scene of some kind. I was prepared for the hot rain of tears; only I wanted them to be shed on my breast: now a senseless floor has received them, or your drenched handkerchief. But I err: you have not wept at all! I see a white cheek and a faded eye, but no trace of tears. I suppose, then, your heart has been weeping blood?" |
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Jane Eyre:
"You will find she is some young lady who has had a misunderstanding with her friends, and has probably injudiciously left them. We may, perhaps, succeed in restoring her to them, if she is not obstinate: but I trace lines of force in her face which make me sceptical of her tractability....... She looks sensible, but not at all handsome." |
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Jane Eyre:
"What can you mean? It may be of no moment to you; you have sisters and don't care for a cousin; but I had nobody; and now three relations, - or two, if you don't choose to be counted, - are born into my world full-grown. I say again, I am glad!" |
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Jane Eyre:
"Whois it? Whatis it? Who speaks?....Great God! - what delusion has come over me? What sweet madness has seized me? ....And where is the speaker? Is it only a voice? Oh! Icannotsee, but I must feel, or my heart will stop and my brain burst. Whatever - whoever you are - be perceptible to the touch or I cannot live!" |
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