1{2 "document_id": "lb_hotpotqa_88b095fb93df1d962625daa1796a46ce4721c316b0ab819b",3 "family": "public_hotpotqa",4 "split": "test",5 "text": "Passage 1:\nArdiente secreto\nArdiente secreto is a Mexican telenovela produced by Irene Sabido for Televisa in 1978. It is based on the Charlotte Brontë's 1847 novel Jane Eyre.\n\nPlot\nThe orphan Mariana Cisneros was shut in (in a college) by an aunt who hates her, she suffers from some terrible pains, but she take advantage of the education and culture. When she turns 18 she finds a job as a governess of a silent and lonely child, Adela, who is the daughter of Eduardo. Mariana wins Adela's love and she is attracted by Eduardo. Mariana and Eduardo fall in love, but a terrible secret will take them apart. She discovers it on the day of their marriage. Mariana is desperate and she escapes, but for love she will return again.\n\nCast\nDaniela Romo as Mariana\nJoaquín Cordero as Eduardo\nLorena Velázquez\nVirginia Manzano\nDolores Tinoco\nPatricia Tanus as Adela\nAda Carrasco\nEduardo Liñán\nErika Carrasco as Mariana (child)\nPassage 2:\nEl Ardiente Secreto\nArdiente secreto is a Mexican telenovela produced by Irene Sabido for Televisa in 1978. It is based on the Charlotte Brontë's 1847 novel Jane Eyre.\n\nPlot\nThe orphan Mariana Cisneros was shut in (in a college) by an aunt who hates her, she suffers from some terrible pains, but she take advantage of the education and culture. When she turns 18 she finds a job as a governess of a silent and lonely child, Adela, who is the daughter of Eduardo. Mariana wins Adela's love and she is attracted by Eduardo. Mariana and Eduardo fall in love, but a terrible secret will take them apart. She discovers it on the day of their marriage. Mariana is desperate and she escapes, but for love she will return again.\n\nCast\nDaniela Romo as Mariana\nJoaquín Cordero as Eduardo\nLorena Velázquez\nVirginia Manzano\nDolores Tinoco\nPatricia Tanus as Adela\nAda Carrasco\nEduardo Liñán\nErika Carrasco as Mariana (child)\nPassage 3:\nJeff Sampson\nJeff Sampson is a young adult and children's author. He was born on a U.S. military base in Nuremberg, Germany on July 15, 1982. He started writing professionally at age eighteen. His first books were packaged series fiction. When Sampson was twenty-two, he had his first novel published as part of the Dragonlance series of fantasy novels. He since went on to write many original young adult and children's series, including Monster Slayers under the pen name Lukas Ritter for Wizards of the Coast; Deviants for Balzer + Bray, an imprint of HarperCollins Children’s Books; and The Last Dogs under the pen name Christopher Holt for Little, Brown Books for Young Readers. Jeff Sampson currently lives in Seattle, Washington in the United States.\n\nBibliography\nThe Last Dogs:\n(as Christopher Holt)\n\nThe Vanishing (September 2012)\nDark Waters (June 2013)\nThe Long Road (November 2013)\nJourney's End (June 2014)\n\nDeviants\nVesper (January 2011)\nHavoc (January 2012)\nRavage (January 2013)\n\nMonster Slayers\n(as Lukas Ritter)\n\nMonster Slayers (May 2010)\nMonster Slayers: Unleashed (May 2011)\nMonster Slayers: Training Day (Short story, Wizards of the Coast website, April 2010)\n\nDragonlance: The New Adventures\nDragon Quartet, Vol. 8: Dragon Spell (July 2005)\nTrinistyr Trilogy, Vol. 2: Wizard's Betrayal (January 2006)\nSuncatcher Trilogy, Vol. 1: The Wayward Wizard (September 2006)\nSuncatcher Trilogy, Vol. 2: The Ebony Eye (March 2007)\nSuncatcher Trilogy, Vol. 3: The Stolen Sun (September 2007)\nPassage 4:\nStory of O\nStory of O (French: Histoire d'O, IPA: [istwaʁ do]) is an erotic novel published in 1954 by French author Anne Desclos under the pen name Pauline Réage, and published in French by Jean-Jacques Pauvert.\nDesclos did not reveal herself as the author for 40 years after the initial publication. Desclos stated she wrote the novel as a series of love letters to her lover Jean Paulhan, who had admired the work of the Marquis de Sade. The novel shares with the latter themes such as love, dominance, and submission.\n\nPlot\nStory of O is a tale of female submission involving a beautiful Parisian fashion photographer named O, who is taught to be constantly available for oral, vaginal, and anal intercourse, offering herself to any male who belongs to the same secret society as her lover. She is regularly stripped, blindfolded, chained, and whipped; her anus is widened by increasingly large plugs; her labium is pierced and her buttocks are branded.\nThe story begins when O's lover, René, brings her to the château in Roissy, where she is trained to serve the members of an elite club. After this initial training, as a demonstration of their bond and his generosity, René hands O to his elder stepbrother Sir Stephen, a more severe master. René wants O to learn to serve someone whom she does not love, and someone who does not love her. Over the course of this training, O falls in love with Sir Stephen and believes him to be in love with her as well. During the summer, Sir Stephen sends O to an old mansion in Samois solely inhabited by women for advanced training and body modifications related to submission. There she agrees to receive permanent marks of Sir Stephen's ownership, in the form of a brand and a steel tag hanging from a labia piercing.\nMeanwhile René has encouraged O to seduce Jacqueline, a vain fashion model, and lure her to Roissy. Jacqueline is repulsed when she first sees O's chains and scars, although O herself is proud of her condition as a willing slave. But Jacqueline's younger half-sister becomes enamored of O, and begs to be taken to Roissy.\nAt the climax, O is presented as a sexual slave, nude but for an owl-like mask and a leash attached to her piercing, before a large party of guests who treat her solely as an object. Afterward, she is shared by Sir Stephen and an associate of his who is referred to only as \"The Commander\".\nSome early editions included several different variations of an epilogue which note that Sir Stephen later abandoned O, though there is debate as to whether Desclos intended it to be included in the finished work; in one such version, O is so distraught by the threat of this abandonment that she insists she would rather die and asks for permission to commit suicide, which is granted.\n\nPublishing history\nIn February 1955, Story of O won the French literature prize Prix des Deux Magots, but the French authorities still brought obscenity charges against the publisher. The charges were rejected by the courts, but a publicity ban was imposed for a number of years.\nOlympia Press published the first English edition in 1965. Eliot Fremont-Smith (of The New York Times) called its publication \"a significant event\".\n\nCriticism\nA critical view of the novel is that it is about, and derives its erotic power from, the ultimate objectification of a woman. The heroine has the shortest possible name. Though this is in fact a shortening of \"Odile\", it could also stand for \"object\" or \"orifice\", an O being a symbolic representation of any \"hole\". The novel was strongly criticized by many feminists, who felt it glorified the abuse of women. An article by Susan Griffin that appears in Against Sadomasochism: A Radical Feminist Analysis (reprinted from Griffin’s book Pornography and Silence with an introduction) criticizes the novel; Griffin argues that Story of O shows \"how a pornographic society turns a woman's heart against herself.\"When the film Story of O was released, L'Express magazine ran a feature on the novel and film. This resulted in L'Express being picketed by feminists from the group Mouvement de libération des femmes, who found the novel and film objectionable. Journalist François Chalais also criticized Story of O, claiming the novel glorified violence; he described the novel as \"bringing the Gestapo into the boudoir\".\n\nHidden identities\nThe author used a pen name, then later used another pen name, before finally, just before her death, revealing her true identity. Her lover, Jean Paulhan, wrote the preface as if the author were unknown to him.According to Geraldine Bedell, \"Pauline Réage, the author, was a pseudonym, and many people thought that the book could only have been written by a man. The writer's true identity was not revealed until ten years ago, when, in an interview with John de St. Jorre, a British journalist and sometime foreign correspondent of The Observer, an impeccably dressed 86-year-old intellectual called Dominique Aury acknowledged that the fantasies of castles, masks and debauchery were hers.\" According to several other sources, however, Dominique Aury was itself a pseudonym of Anne Desclos, born 23 September 1907 in Rochefort-sur-Mer, France, and deceased 26 April 1998 (at age 90) in Paris.\nThe Grove Press edition (U.S., 1965) was translated by editor Richard Seaver (who had lived in France for many years) under the pseudonym Sabine d'Estrée.\n\nJean Paulhan\nJean Paulhan, the author's lover and the person to whom she wrote Story of O in the form of love letters, wrote the preface, \"Happiness in Slavery\". Paulhan admired the Marquis de Sade's work and told Desclos that a woman could not write like Sade. Desclos took this as a challenge and wrote the book. Paulhan was so impressed that he sent it to a publisher. In the preface, he goes out of his way to appear as if he does not know who wrote it. In one part he says, \"But from the beginning to end, the story of O is managed rather like some brilliant feat. It reminds you more of a speech than of a mere effusion; of a letter rather than a secret diary. But to whom is the letter addressed? Whom is the speech trying to convince? Whom can we ask? I don't even know who you are. That you are a woman I have little doubt.\" Paulhan also explains his own belief that the themes in the book depict the true nature of women. At times, the preface (when read with the knowledge of the relationship between Paulhan and the author), seems to be a continuation of the conversation between them.\nIn an interview Paulhan explained that O, in a religious-like obsession, was seeking the loss of responsibility for her body and mind much like many religious women seek to surrender themselves to the mercy of God. In both cases it is the joy of destruction. Paulhan was also quoted: \"To be killed by someone you love strikes me as the epitome of ecstasy\". Discussing the ending, Paulhan states, \"I too was surprised by the end. And nothing you can say will convince me that it is the real end. That in reality (so to speak) your heroine convinces Sir Stephen to consent to her death.\"One critic has seen Paulhan's essay as consistent with other themes in his work, including his interest in erotica, his \"mystification\" of love and sexual relationships, and a view of women that is arguably sexist.\n\nLegacy\nEmmanuelle Arsan claimed the Story of O inspired her to write her own erotic novel Emmanuelle (1967).A sequel to Story of O, Retour à Roissy (Return to Roissy, but often translated as Return to the Chateau, Continuing the Story of O), was published in 1969 in French, again with Jean-Jacques Pauvert, éditeur. It was published again in English by Grove Press, Inc., in 1971. It is not known whether this work is by the same author as the original.\nThe town Samois-sur-Seine is mentioned in Story of O as the location of the fictional mansion managed by Anne-Marie, a lesbian dominatrix. In 1978, the name Samois was adopted by a lesbian-feminist BDSM organization based in San Francisco that existed from 1978 to 1983. It was the first lesbian BDSM group in the United States.In 2007, the National Leather Association International inaugurated awards for excellence in SM/fetish/leather writing. The categories include the Pauline Reage (a pen name of Anne Desclos, author of Story of O) award for fiction novel.In 2020, Anne Desclos (author of Story of O) was inducted into the Leather Hall of Fame.\n\nAdaptations\nFilm\nAmerican experimental director Kenneth Anger made a 20 minute short film version, l'Histoire d'O, in 1961.\nFrench director Henri-Georges Clouzot wanted to adapt the novel to film for many years, which was eventually done by director Just Jaeckin in 1975 as Histoire d'O (Story of O) produced by Eric Rochat and Gérard Lorin, starring Corinne Cléry and Udo Kier. The film met with far less acclaim than the book. It was banned in the United Kingdom by the British Board of Film Censors until February 2000.\nIn 1975, American director Gerard Damiano, well known for Deep Throat (1972) and The Devil in Miss Jones (1973), created the movie The Story of Joanna, highly influenced by the Story of O, by combining motifs from one of the book's chapters and from Jean-Paul Sartre's No Exit.\nIn 1979, Danish director Lars von Trier made the short movie entitled Menthe – la bienheureuse, as an homage to Story of O. His 2005 film Manderlay was also inspired by the book, particularly Paulhan's introduction.Five years later, in 1984, actress Sandra Wey starred as \"O\" in Story of O - Chapter 2, written, directed and produced by Eric Rochat.\nIn 1992, a Brazilian miniseries in 10 episodes entitled A História de O starring Claudia Cepeda was written, directed and produced by Eric Rochat, who was the producer of the original 1975 movie.\nIn 2002, another version of O was released, called The Story of O: Untold Pleasures, with Danielle Ciardi playing the title character.\n\nComics\nIn 1975, it was adapted for comics by the Italian artist Guido Crepax. Both the original and Crepax's adaptation were parodied for comics in 2007 by Charles Alverson and John Linton Roberson.\n\nDocumentaries\nWriter of O, a 2004 documentary film by Pola Rapaport, mixed interviews with re-enactments of certain scenes from the book. In the documentary, the real author of Story of O, Dominique Aury (actually a pen name of Anne Desclos), talks about the book A Girl in Love. This book was written about how Story of O was written.\nA documentary was also made for BBC Radio 4 entitled The Story of O: The Vice Francaise, presented by Rowan Pelling, former editor of the Erotic Review, which looked at the history of the book and its author Anne Desclos.\nErotica: A Journey Into Female Sexuality, a documentary by filmmaker Maya Gallus, featured the final interview with 90-year-old Dominique Aury (a pen name of Story of O author Anne Desclos) before she died. In the film, she recounts the extraordinary love story behind Story of O and marvels that she has reached such a grand age.\n\nSongs\nThe 2018 single \"O\" by the artist Shygirl is based on the book.\n\nSee also\n1975 in film\nDominance and submission\nSadism and masochism in fiction\nStory of O - Chapter 2\nVenus in Furs\nThe Claiming of Sleeping Beauty\nFruits of Passion\nPassage 5:\nThe Dice Man\nThe Dice Man is a 1971 novel by American novelist George Cockcroft, writing under the pen name \"Luke Rhinehart\". The book tells the story of a psychiatrist who makes daily decisions based on the casting of a diсe. Cockcroft describes the origin of the title idea variously in interviews, once recalling a college \"quirk\" he and friends used to decide \"what they were going to do that night\" based on a die-roll, or sometimes to decide between mildly mischievous pranks. The Hitchhiker's Guide to the Galaxy user site describes the novel as a book that was viewed as subversive, as having \"anti-psychiatry sentiment\", and as \"reflecting the mood of the early 1970s in permissiveness\". It has content that includes the protagonist's decisions to engage in rape and murder, and is described as having been \"banned in several countries\".At the time of its publication, \"[i]t was not clear whether the book was fiction or autobiography\", all the more because the protagonist and the alleged author were eponymous; both were described as having the same profession (psychiatry), and elements of the described lives of both (e.g., places of residence, date of birth) were also in common; hence, curiosity over its authorship have persisted since its publication. Years later, in 1999, Emmanuel Carrère, writing for The Guardian, presented a long-form expose on Cockroft and the relationship between author and legend, disclosing him as a life-long English professor living \"in an old farmhouse with a yard that slopes down to a duck pond\", a husband of fifty-years, father of three, and a caregiver to a special-needs child.On its initial publication, the cover bore the confident subheader, \"Few novels can change your life. This one will\"; in the United States this was altered to read, \"This book will change your life\". The book quickly became, and remains thought of as, a cult classic. Writing in 2017 for The Guardian, Tanya Gold noted that \"over the course of 45 years\" it was still in print, had become famous, had devoted fans, and had \"sold more than 2m copies in multiple languages\". As well, it has been republished a number of times. It initially sold poorly in the United States, but well in Europe, particularly England, Sweden, Denmark, and Spain. Cockroft continued themes of the book in two other novels, Adventures of Wim (1986) and The Search for the Dice Man (1993), and in a companion title, The Book of the Die (2000), none of which achieved the commercial success of The Dice Man.\n\nPlot summary\nAs stated at the Hitchhiker's Guide to the Galaxy user site:The book tells the story... of a psychologist named Luke [Rhinehart] who, feeling bored and unfulfilled in life, starts making decisions... based on a roll of a die. Along the way, there is sex, rape, murder, 'dice parties', breakouts by psychiatric patients, and various corporate and governmental machines being put into a spin. There is also a description of the cult that starts to develop around the man, and the psychological research he initiates, such as the 'F**k without Fear for Fun and Profit' programme.\n\nPublishing history\nISBN 0-900735-00-7 - September 9, 1971\nISBN 0-246-11058-9 - July, 1978\nISBN 0-586-03765-9 - April 13, 1989\nISBN 0-87951-864-2 - July, 1998\nISBN 0-00-651390-5 - December 15, 1999\nISBN 0-00-716121-2 - April 7, 2003\n\nIn Pop Culture\nBritish band The Fall based the song \"Dice Man\" (1979) on this novel.\nBritish New Wave band Talk Talk wrote the song \"Such A Shame\" (1984) inspired by this novel.\nBritish musician Richard D. James used the pseudonym The Dice Man for the track \"Polygon Window\" (1992).\n\nSee also\n\"Flip Decision\"\nYes Man (book)\nPassage 6:\nColin Falconer (writer)\nColin Falconer (born 1953) is a pen name of Colin Bowles, who also uses the pen name Mark D'Abranville, an English-born Australian writer. Works published under the pen name include contemporary and historical thrillers, and children's books. Under his original name he has also published books of satirical fiction; non-fiction books about language; television and radio scripts; and many magazine articles and columns.\n\nBiography\nBorn in North London, Bowles moved to Australia in his twenties and worked as a taxi driver and guitarist before joining an advertising agency. In 1984 he moved to Sydney to pursue a career as a writer.\nHe worked as a freelance journalist for various major magazines and wrote scripts for radio and television before becoming a full-time novelist in 1990. His books have been translated into 17 languages. He lived for many years near Dunsborough, Western Australia, where he and his late wife, Helen, raised two daughters. While writing, he also worked for many years in the volunteer ambulance service. He lives in Australia with his wife.\n\nAwards\nNovels by Colin Falconer\nFalconer novels have an international audience. Harem (also published as The Sultan's Harem), the story of Suleiman the Magnificent, sold over 150,000 copies in Germany alone.\n\nHarem (1993)\nAztec (1999)\nFeathered Serpent (2002)\nThe Sultan's Harem (2004)\nSilk Road (2011)\nAnastasia (2012)\nIsabella: Braveheart of France (2013)\nEast India (2014)\nNights in the Sun\nVenom\nDeathwatch (1991)\nFury\nOpium\nTriad\nDangerous\nDisappeared\nRough Justice\nThe Certainty of Doing Evil\nWhen We Were Gods\nMy Beautiful Spy\nPearls\nStairway to the Moon (sequel to Pearls)\nSurfing Mr. Petrovic\nColossus\nStigmata\nThe Unkillable Kitty O'Kane (2017)\nLord of the Atlas (2022)\n\nWorks by Colin Bowles\nThese include:\n\nWit's Dictionary\nG'day, Teach Yourself Australian\nThe Year We Seized the Day (2007, with Elizabeth Best)\n\"Flying Blind\"\n\"Flying Hazzard\"\nPassage 7:\nThe Cuckoo Clock\nThe Cuckoo Clock is a British children's fantasy novel by Mary Louisa Molesworth, published in 1877 by Macmillan. It was originally published under the pen name Ennis Graham and reissued in 1882 as by Mrs. Molesworth, the name by which she is widely known. Both of those editions and many later ones were illustrated by Walter Crane; an 1893 uniform edition is available online at the University of Pennsylvania. An edition illustrated by Maria L. Kirk was published in 1914; it is available online at HathiTrust Digital Library.\n\nPlot summary\nA small child and a cuckoo from a cuckoo clock become unlikely friends. At night the clock transports her to magical places.\n\nGenre and style\nHer writing style is known to be very plain in context, and it has been criticized for this. But the plain text was most likely used so that the work was more accessible to children. Nothing she writes is too complicated for the readers, and there is an air of conversation in the text.\n\nThemes\nLove and friendship\nThroughout the novel Griselda struggles with her new place of residence. She quickly finds that what she needs most is friendship. She finds these friends first in the Cuckoo, then her maids, and finally she finds a real friend in Master Phil. It is also realized at the end that throughout the novel her aunts have been showing her examples of real love all along.\n\nMagic in fiction\nThis particular use of magic is through an enchanted object. The plot is furthered easily with the assumption that the object has no bounds of possibility. Children readers are also led to use their imagination to see all of the images the writer has concocted.\n\nSacrifices bring reward\nThroughout the story Griselda struggles to finish her lessons during the day. The Cuckoo helps her to learn that with hard work there is eventually a reward. He rewards her greatly when she has improved in her lessons.\n\n19th century children's literature\nThe second half of the 19th century is called the Golden age of children’s literature, because of the publication of so many notable stories that also appear in modern times. The fantasy novel for children was becoming very popular at this time. The Moral Didactic tale also continued with the popularity of the fantasy story. Often overlapping.\n\nThe didactic tale\nThe character of Griselda, has many interesting qualities. She is seen as a real child, who throws fits and is unhappy when she does not get her way. The Cuckoo, through these stories, teaches young Griselda how to control her feelings and urges. Learning the proper way to act is a major theme in many British children's books. Many books written in that age were meant for the betterment of the children reading them.\n\nCritical reception\nIn the back of a copy of Mrs. Molesworth's The Tapestry Room there is a short review for The Cuckoo Clock:\n\"A beautiful little story... It will be read with delight by every child into whose hands it is placed... Ennis Graham deserves all that praise that has been, is, and will be, bestowed on The Cuckoo Clock. Children's stories are plentiful, but one like this not to be met with every day.\" –Pall Mall Gazette\n\nAdaptation into animated film\nMetro-Goldwyn-Mayer cartoon studio was adapted into animated short films titled The Cuckoo Clock that released in 1950 by Tex Avery. The story began, when the black cat scared the sound of the cuckoo clock.\nPassage 8:\nJane Eyre\nJane Eyre ( AIR; originally published as Jane Eyre: An Autobiography) is a novel by the English writer Charlotte Brontë. It was published under her pen name \"Currer Bell\" on 19 October 1847 by Smith, Elder & Co. of London. The first American edition was published the following year by Harper & Brothers of New York. Jane Eyre is a Bildungsroman which follows the experiences of its eponymous heroine, including her growth to adulthood and her love for Mr Rochester, the brooding master of Thornfield Hall.The novel revolutionised prose fiction by being the first to focus on its protagonist's moral and spiritual development through an intimate first-person narrative, where actions and events are coloured by a psychological intensity. Charlotte Brontë has been called the \"first historian of the private consciousness\", and the literary ancestor of writers like Marcel Proust and James Joyce.The book contains elements of social criticism with a strong sense of Christian morality at its core, and it is considered by many to be ahead of its time because of Jane's individualistic character and how the novel approaches the topics of class, sexuality, religion, and feminism. It, along with Jane Austen's Pride and Prejudice, is one of the most famous romance novels.\n\nPlot\nJane Eyre is divided into 38 chapters. It was originally published in three volumes in the 19th century, comprising chapters 1 to 15, 16 to 27, and 28 to 38.\nThe second edition was dedicated to William Makepeace Thackeray.\nThe novel is a first-person narrative from the perspective of the title character. Its setting is somewhere in the north of England, late in the reign of George III (1760–1820). It has five distinct stages: Jane's childhood at Gateshead Hall, where she is emotionally and physically abused by her aunt and cousins; her education at Lowood School, where she gains friends and role models but suffers privations and oppression; her time as governess at Thornfield Hall, where she falls in love with her mysterious employer, Edward Fairfax Rochester; her time in the Moor House, during which her earnest but cold clergyman cousin, St John Rivers, proposes to her; and ultimately her reunion with, and marriage to, her beloved Rochester. Throughout these sections, it provides perspectives on a number of important social issues and ideas, many of which are critical of the status quo.\nThe five stages of Jane's life:\n\nGateshead Hall\nJane Eyre, aged 10, lives at Gateshead Hall with her maternal uncle's family, the Reeds, as a result of her uncle's dying wish. Jane was orphaned several years earlier when her parents died of typhus. Jane's uncle, Mr Reed, was the only one in the Reed family who was kind to Jane. Jane's aunt, Sarah Reed, dislikes her and treats her as a burden. Mrs Reed also discourages her three children from associating with Jane. As a result, Jane becomes defensive against her cruel judgement. The nursemaid, Bessie, proves to be Jane's only ally in the household, even though Bessie occasionally scolds Jane harshly. Excluded from the family activities, Jane lives an unhappy childhood.\nOne day, as punishment for defending herself against the bullying of her 14-year-old cousin John, the Reeds' only son, Jane is locked in the red room in which her late uncle had died; there, she faints from panic after she thinks she has seen his ghost. The red room is significant because it lays the grounds for the \"ambiguous relationship between parents and children\" which plays out in all of Jane's future relationships with male figures throughout the novel. She is subsequently attended to by the kindly apothecary Mr Lloyd to whom Jane reveals how unhappy she is living at Gateshead Hall. He recommends to Mrs Reed that Jane should be sent to school, an idea Mrs Reed happily supports. \nMrs Reed then enlists the aid of the harsh Mr Brocklehurst, who is the director of Lowood Institution, a charity school for girls, to enroll Jane. Mrs Reed cautions Mr Brocklehurst that Jane has a \"tendency to deceit\", which he interprets as Jane being a liar. Before Jane leaves, however, she confronts Mrs Reed and declares that she'll never call her \"aunt\" again. Jane also tells Mrs Reed and her daughters, Georgiana and Eliza, that they are the ones who are deceitful, and that she will tell everyone at Lowood how cruelly the Reeds treated her. Mrs Reed is hurt badly by these words, but does not have the courage or tenacity to show this.\n\nLowood Institution\nAt Lowood Institution, a school for poor and orphaned girls, Jane soon finds that life is harsh. She attempts to fit in and befriends an older girl, Helen Burns. During a class session, her new friend is criticised for her poor stance and dirty nails, and receives a lashing as a result. Later, Jane tells Helen that she could not have borne such public humiliation, but Helen philosophically tells her that it would be her duty to do so. Jane then tells Helen how badly she has been treated by Mrs Reed, but Helen tells her that she would be far happier if she did not bear grudges. \nIn due course, Mr Brocklehurst visits the school. While Jane is trying to make herself look inconspicuous, she accidentally drops her slate, thereby drawing attention to herself. She is then forced to stand on a stool, and is branded a sinner and a liar. Later, Miss Temple, the caring superintendent, facilitates Jane's self-defence and publicly clears her of any wrongdoing. Helen and Miss Temple are Jane's two main role models who positively guide her development, despite the harsh treatment she has received from many others.\nThe 80 pupils at Lowood are subjected to cold rooms, poor meals, and thin clothing. Many students fall ill when a typhus epidemic strikes; Helen dies of consumption in Jane's arms. When Mr Brocklehurst's maltreatment of the students is discovered, several benefactors erect a new building and install a sympathetic management committee to moderate Mr Brocklehurst's harsh rule. Conditions at the school then improve dramatically.\n\nThornfield Hall\nAfter six years as a student and two as a teacher at Lowood, Jane decides to leave in pursuit of a new life, growing bored with her life at Lowood. Her friend and confidante, Miss Temple, also leaves after getting married. Jane advertises her services as a governess in a newspaper. The housekeeper at Thornfield Hall, Alice Fairfax, replies to Jane's advertisement. Jane takes the position, teaching Adèle Varens, a young French girl.\nOne night, while Jane is carrying a letter to the post from Thornfield, a horseman and dog pass her. The horse slips on ice and throws the rider. Despite the rider's surliness, Jane helps him get back onto his horse. Later, back at Thornfield, she learns that this man is Edward Rochester, master of the house. Adèle was left in his care when her mother, a famous dancer, abandoned her. It is not immediately apparent whether Adèle is Rochester's daughter or not.\nAt Jane's first meeting with Mr Rochester, he teases her, accusing her of bewitching his horse to make him fall. Jane stands up to his initially arrogant manner. Despite his strange behaviour, Mr Rochester and Jane soon come to enjoy each other's company, and they spend many evenings together.\nOdd things start to happen at the house, such as a strange laugh being heard, a mysterious fire in Mr Rochester's room (from which Jane saves Rochester by rousing him and throwing water on him), and an attack on a house-guest named Mr Mason.\nAfter Jane saves Mr Rochester from the fire, he thanks her tenderly and emotionally, and that night Jane feels strange emotions of her own towards him. The next day however he leaves unexpectedly for a distant party gathering, and several days later returns with the whole party, including the beautiful and talented Blanche Ingram. Just as she realises that she is in love with Mr Rochester, Jane sees that he and Blanche favour each other and starts to feel jealous, particularly because she also sees that Blanche is snobbish and heartless.\nJane then receives word that Mrs Reed has suffered a stroke and is calling for her. Jane returns to Gateshead Hall and remains there for a month to tend to her dying aunt. Mrs Reed confesses to Jane that she wronged her, bringing forth a letter from Jane's paternal uncle, Mr John Eyre, in which he asks for her to live with him and be his heir. Mrs Reed admits to telling Mr Eyre that Jane had died of fever at Lowood. Soon afterward, Mrs Reed dies, and Jane helps her cousins after the funeral before returning to Thornfield.\nBack at Thornfield, Jane broods over Mr Rochester's rumoured impending marriage to Blanche Ingram. However, one midsummer evening, Rochester baits Jane by saying how much he will miss her after getting married and how she will soon forget him. The normally self-controlled Jane reveals her feelings for him. To her surprise, Rochester reciprocates, having courted Blanche only to make Jane jealous, and proposes marriage. Jane is at first skeptical of his sincerity, before accepting his proposal. She then writes to her Uncle John, telling him of her happy news.\nAs she prepares for her wedding, Jane's forebodings arise when a strange woman sneaks into her room one night and rips Jane's wedding veil in two. As with the previous mysterious events, Mr Rochester attributes the incident to Grace Poole, one of his servants. During the wedding ceremony, however, Mr Mason and a lawyer declare that Mr Rochester cannot marry because he is already married to Mr Mason's sister, Bertha. Mr Rochester admits this is true but explains that his father tricked him into the marriage for her money. Once they were united, he discovered that she was rapidly descending into congenital madness, and so he eventually locked her away in Thornfield, hiring Grace Poole as a nurse to look after her. When Grace gets drunk, Rochester's wife escapes and causes the strange happenings at Thornfield.\nIt turns out that Jane's uncle, Mr John Eyre, is a friend of Mr Mason's and was visited by him soon after Mr Eyre received Jane's letter about her impending marriage. After the marriage ceremony is broken off, Mr Rochester asks Jane to go with him to the south of France and live with him as husband and wife, even though they cannot be married. Jane is tempted but realises that she will lose herself and her integrity if she allows her passion for a married man to consume her, and she must stay true to her Christian values and beliefs. Refusing to go against her principles, and despite her love for Rochester, Jane leaves Thornfield Hall at dawn before anyone else is up.\n\nMoor House\nJane travels as far from Thornfield Hall as she can using the little money she had previously saved. She accidentally leaves her bundle of possessions on the coach and is forced to sleep on the moor. She unsuccessfully attempts to trade her handkerchief and gloves for food. Exhausted and starving, she eventually makes her way to the home of Diana and Mary Rivers but is turned away by the housekeeper. She collapses on the doorstep, preparing for her death. Clergyman St John Rivers, Diana and Mary's brother, rescues her. After Jane regains her health, St John finds her a teaching position at a nearby village school. Jane becomes good friends with the sisters, but St John remains aloof.\nThe sisters leave for governess jobs, and St John becomes slightly closer to Jane. St John learns Jane's true identity and astounds her by telling her that her uncle, John Eyre, has died and left her his entire fortune of 20,000 pounds (equivalent to US $2.24 million in 2022). When Jane questions him further, St John reveals that John Eyre is also his and his sisters' uncle. They had once hoped for a share of the inheritance but were left virtually nothing. Jane, overjoyed by finding that she has living and friendly family members, insists on sharing the money equally with her cousins, and Diana and Mary come back to live at Moor House.\n\nProposals\nThinking that the pious and conscientious Jane will make a suitable missionary's wife, St John asks her to marry him and to go with him to India, not out of love, but out of duty. Jane initially accepts going to India but rejects the marriage proposal, suggesting they travel as brother and sister. As Jane's resolve against marriage to St John begins to weaken, she seems to hear Mr Rochester's voice calling her name. Jane then returns to Thornfield Hall to see if Rochester is all right, only to find blackened ruins. She learns that Rochester sent Mrs Fairfax into retirement and Adèle to school a few months following her departure. Shortly afterwards, his wife set the house on fire and died after jumping from the roof. While saving the servants and attempting to rescue his wife, Rochester lost a hand and his eyesight. \nJane reunites with Rochester, and he is overjoyed at her return, but fears that she will be repulsed by his condition. \"Am I hideous, Jane?\", he asks. \"Very, sir; you always were, you know\", she replies. Now a humbled man, Rochester vows to live a purer life, and reveals that he has intensely pined for Jane ever since she left. He had even called out her name in despair one night, the very call that she heard from Moor House, and heard her reply from miles away, signifying the connection between them. Jane asserts herself as a financially independent woman and assures him of her love, declaring that she will never leave him. Rochester proposes again, and they are married. They live blissfully together in an old house in the woods called Ferndean Manor. The couple stay in touch with Adèle as she grows up, as well as Diana and Mary, who each gain loving husbands of their own. St John moves to India to accomplish his missionary goals, but is implied to have fallen gravely ill there. Rochester regains sight in one eye two years after his and Jane's marriage, enabling him to see their newborn son.\n\nMajor characters\nIn order of first line of dialogue:\n\nChapter 1\nJane Eyre: The novel's narrator and protagonist, she eventually becomes the second wife of Edward Rochester. Orphaned as a baby, Jane struggles through her nearly loveless childhood and becomes a governess at Thornfield Hall. Small and facially plain, Jane is passionate and strongly principled and values freedom and independence. She also has a strong conscience and is a determined Christian. She is ten at the beginning of the novel, and nineteen or twenty at the end of the main narrative. As the final chapter of the novel states that she has been married to Edward Rochester for ten years, she is approximately thirty at its completion.\nMrs Sarah Reed (née Gibson): Jane's maternal aunt by marriage, who reluctantly adopted Jane in accordance with her late husband's wishes. According to Mrs Reed, he pitied Jane and often cared for her more than for his own children. Mrs Reed's resentment leads her to abuse and neglect the girl. She lies to Mr Brocklehurst about Jane's tendency to lie, preparing him to be severe with Jane when she arrives at Brocklehurst's Lowood School.\nJohn Reed: Jane's fourteen-year-old first cousin who bullies her incessantly and violently, sometimes in his mother's presence. Addicted to food and sweets, causing him ill health and bad complexion. John eventually ruins himself as an adult by drinking and gambling and is rumoured to have committed suicide.\nEliza Reed: Jane's thirteen-year-old first cousin. Envious of her more attractive younger sister and a slave to a rigid routine, she self-righteously devotes herself to religion. She leaves for a nunnery near Lisle (France) after her mother's death, determined to estrange herself from her sister.\nGeorgiana Reed: Jane's eleven-year-old first cousin. Although beautiful and indulged, she is insolent and spiteful. Her elder sister Eliza foils Georgiana's marriage to the wealthy Lord Edwin Vere when the couple is about to elope. Georgiana eventually marries a \"wealthy worn-out man of fashion.\"\nBessie Lee: The nursemaid at Gateshead Hall. She often treats Jane kindly, telling her stories and singing her songs, but she has a quick temper. Later, she marries Robert Leaven with whom she has three children.\nMiss Martha Abbot: Mrs Reed's maid at Gateshead Hall. She is unkind to Jane and tells Jane she has less right to be at Gateshead than a servant does.\n\nChapter 3\nMr Lloyd: A compassionate apothecary who recommends that Jane be sent to school. Later, he writes a letter to Miss Temple confirming Jane's account of her childhood and thereby clears Jane of Mrs Reed's charge of lying.\n\nChapter 4\nMr Brocklehurst: The clergyman, director, and treasurer of Lowood School, whose maltreatment of the pupils is eventually exposed. A religious traditionalist, he advocates for his charges the most harsh, plain, and disciplined possible lifestyle, but, hypocritically, not for himself and his own family. His second daughter, Augusta, exclaimed, \"Oh, dear papa, how quiet and plain all the girls at Lowood look… they looked at my dress and mama's, as if they had never seen a silk gown before.\"\n\nChapter 5\nMiss Maria Temple: The kind superintendent of Lowood School, who treats the pupils with respect and compassion. She helps clear Jane of Mr Brocklehurst's false accusation of deceit and cares for Helen in her last days. Eventually, she marries Reverend Naysmith.\nMiss Scatcherd: A sour and strict teacher at Lowood. She constantly punishes Helen Burns for her untidiness but fails to see Helen's substantial good points.\nHelen Burns: Jane's best friend at Lowood School. She refuses to hate those who abuse her, trusts in God, and prays for peace one day in heaven. She teaches Jane to trust Christianity and dies of consumption in Jane's arms. Elizabeth Gaskell, in her biography of the Brontë sisters, wrote that Helen Burns was 'an exact transcript' of Maria Brontë, who died of consumption at age 11.\n\nChapter 11\nMrs Alice Fairfax: The elderly, kind widow and the housekeeper of Thornfield Hall; distantly related to the Rochesters.\nAdèle Varens: An excitable French child to whom Jane is a governess at Thornfield Hall. Adèle's mother was a dancer named Céline. She was Mr Rochester's mistress and claimed that Adèle was Mr Rochester's daughter, though he refuses to believe it due to Céline's unfaithfulness and Adèle's apparent lack of resemblance to him. Adèle seems to believe that her mother is dead (she tells Jane in chapter 11, \"I lived long ago with mamma, but she is gone to the Holy Virgin\"). Mr Rochester later tells Jane that Céline actually abandoned Adèle and \"ran away to Italy with a musician or singer\" (ch. 15). Adèle and Jane develop a strong liking for one another, and although Mr Rochester places Adèle in a strict school after Jane flees Thornfield Hall, Jane visits Adèle after her return and finds a better, less severe school for her. When Adèle is old enough to leave school, Jane describes her as \"a pleasing and obliging companion—docile, good-tempered and well-principled\", and considers her kindness to Adèle well repaid.\nGrace Poole: \"…a woman of between thirty and forty; a set, square-made figure, red-haired, and with a hard, plain face…\" Mr Rochester pays her a very high salary to keep his mad wife, Bertha, hidden and quiet. Grace is often used as an explanation for odd happenings at the house such as strange laughter that was heard not long after Jane arrived. She has a weakness for drinking that occasionally allows Bertha to escape.\n\nChapter 12\nEdward Fairfax Rochester: The master of Thornfield Hall. A Byronic hero, he has a face \"dark, strong, and stern.\" He married Bertha Mason years before the novel begins.\nLeah: The housemaid at Thornfield Hall.\n\nChapter 17\nBlanche Ingram: Young socialite whom Mr Rochester plans to marry. Though possessing great beauty and talent, she treats social inferiors, Jane in particular, with undisguised contempt. Mr Rochester exposes her and her mother's mercenary motivations when he puts out a rumour that he is far less wealthy than they imagine.\n\nChapter 18\nRichard Mason: An Englishman whose arrival at Thornfield Hall from the West Indies unsettles Mr Rochester. He is the brother of Rochester's first wife, the woman in the attic, and still cares for his sister's well-being. During the wedding ceremony of Jane and Mr Rochester, he exposes the bigamous nature of the marriage.\n\nChapter 21\nRobert Leaven: The coachman at Gateshead Hall, who brings Jane the news of the death of the dissolute John Reed, an event which has brought on Mrs Reed's stroke. He informs her of Mrs Reed's wish to see Jane before she dies.\n\nChapter 26\nBertha Antoinetta Mason: The first wife of Edward Rochester. After their wedding, her mental health began to deteriorate, and she is now violent and in a state of intense derangement, apparently unable to speak or go into society. Mr Rochester, who insists that he was tricked into the marriage by a family who knew Bertha was likely to develop this condition, has kept Bertha locked in the attic at Thornfield Hall for years. She is supervised and cared for by Grace Poole, whose drinking sometimes allows Bertha to escape. After Richard Mason stops Jane and Mr Rochester's wedding, Rochester finally introduces Jane to Bertha: \"In the deep shade, at the farther end of the room, a figure ran backwards and forwards. What it was, whether beast or human being, one could not, at first sight, tell… it snatched and growled like some strange wild animal: but it was covered with clothing, and a quantity of dark, grizzled hair, wild as a mane, hid its head and face.\" Eventually, Bertha sets fire to Thornfield Hall and throws herself to her death from the roof. Bertha is viewed as Jane's \"double\": Jane is pious and just, while Bertha is savage and animalistic. Though her race is never mentioned, it is sometimes conjectured that she was of mixed race. Rochester suggests that Bertha's parents wanted her to marry him, because he was of \"good race\", implying that she was not pure white, while he was. There are also references to her \"dark\" hair and \"discoloured\" and \"black\" face. A number of writers during the Victorian period suggested that madness could result from a racially \"impure\" lineage, compounded by growing up in a tropical West Indian climate.\n\nChapter 28\nDiana and Mary Rivers: Sisters in a remote moors house who take Jane in when she is hungry and friendless, having left Thornfield Hall without making any arrangements for herself. Financially poor but intellectually curious, the sisters are deeply engrossed in reading the evening Jane appears at their door. Eventually, they are revealed to be Jane's cousins. They want Jane to marry their stern clergyman brother so that he will stay in England rather than journey to India as a missionary. Diana marries naval Captain Fitzjames, and Mary marries clergyman Mr Wharton. The sisters remain close to Jane and visit her and Rochester every year.\nHannah: The kindly housekeeper at the Rivers home; \"…comparable with the Brontës' well-loved servant, Tabitha Aykroyd.\"\nSt John Eyre Rivers: A handsome, though severe and serious, clergyman who befriends Jane and turns out to be her cousin. St John is thoroughly practical and suppresses all of his human passions and emotions, particularly his love for the beautiful and cheerful heiress Rosamond Oliver, in favour of good works. He wants Jane to marry him and serve as his assistant on his missionary journey to India. After Jane rejects his proposal, St John goes to India unmarried.\n\nChapter 32\nRosamond Oliver: A beautiful, kindly, wealthy, but rather simple young woman, and the patron of the village school where Jane teaches. Rosamond is in love with St John, but he refuses to declare his love for her because she wouldn't be suitable as a missionary's wife. She eventually becomes engaged to the respected and wealthy Mr Granby.\nMr Oliver: Rosamond Oliver's wealthy father, who owns a foundry and needle factory in the district. \"…a tall, massive-featured, middle-aged, and grey-headed man, at whose side his lovely daughter looked like a bright flower near a hoary turret.\" He is a kind and charitable man, and he is fond of St John.\n\nContext\nThe early sequences, in which Jane is sent to Lowood, a harsh boarding school, are derived from the author's own experiences. Helen Burns's death from tuberculosis (referred to as consumption) recalls the deaths of Charlotte Brontë's sisters, Elizabeth and Maria, who died of the disease in childhood as a result of the conditions at their school, the Clergy Daughters School at Cowan Bridge, near Tunstall, Lancashire. Mr Brocklehurst is based on Rev. William Carus Wilson (1791–1859), the Evangelical minister who ran the school. Additionally, John Reed's decline into alcoholism and dissolution recalls the life of Charlotte's brother Branwell, who became an opium and alcohol addict in the years preceding his death. Finally, like Jane, Charlotte became a governess. These facts were revealed to the public in The Life of Charlotte Brontë (1857) by Charlotte's friend and fellow novelist Elizabeth Gaskell.The Gothic manor of Thornfield Hall was probably inspired by North Lees Hall, near Hathersage in the Peak District in Derbyshire. This was visited by Charlotte Brontë and her friend Ellen Nussey in the summer of 1845, and is described by the latter in a letter dated 22 July 1845. It was the residence of the Eyre family, and its first owner, Agnes Ashurst, was reputedly confined as a lunatic in a padded second floor room. It has been suggested that the Wycoller Hall in Lancashire, close to Haworth, provided the setting for Ferndean Manor to which Mr Rochester retreats after the fire at Thornfield: there are similarities between the owner of Ferndean—Mr Rochester's father—and Henry Cunliffe, who inherited Wycoller in the 1770s and lived there until his death in 1818; one of Cunliffe's relatives was named Elizabeth Eyre (née Cunliffe). The sequence in which Mr Rochester's wife sets fire to the bed curtains was prepared in an August 1830 homemade publication of Brontë's The Young Men's Magazine, Number 2. Charlotte Brontë began composing Jane Eyre in Manchester, and she likely envisioned Manchester Cathedral churchyard as the burial place for Jane's parents and Manchester as the birthplace of Jane herself.\n\nAdaptations and influence\nThe novel has been adapted into a number of other forms, including theatre, film, television, and at least two full-length operas. The novel has also been the subject of a number of significant rewritings and related interpretations, notably Jean Rhys's seminal 1966 novel Wide Sargasso Sea.\n\nReception\nContemporary reviews\nJane Eyre's initial reception contrasts starkly to its reputation today. In 1848, Elizabeth Rigby (later Elizabeth Eastlake), reviewing Jane Eyre in The Quarterly Review, found it \"pre-eminently an anti-Christian composition,\" declaring: \"We do not hesitate to say that the tone of mind and thought which has overthrown authority and violated every code human and divine abroad, and fostered Chartism and rebellion at home, is the same which has also written Jane Eyre.\"An anonymous review in The Mirror of Literature, Amusement, and Instruction writes of \"the extraordinary daring of the writer of Jane Eyre\"; however, the review is mostly critical, summarising: \"There is not a single natural character throughout the work. Everybody moves on stilts—the opinions are bad—the notions absurd. Religion is stabbed in the dark—our social distinctions attempted to be levelled, and all absurdly moral notions done away with.\"There were some who felt more positive about the novel contemporaneously. George Henry Lewes said, \"It reads like a page out of one’s own life; and so do many other pages in the book.\" Another critic from the Atlas wrote, \"It is full of youthful vigour, of freshness and originality, of nervous diction and concentrated interest ...It is a book to make the pulses gallop and the heart beat, and to fill the eyes with tears.\"A review in The Era praised the novel, calling it \"an extraordinary book\", observing that \"there is much to ponder over, rejoice over, and weep over, in its ably-written pages. Much of the heart laid bare, and the mind explored; much of greatness in affliction, and littleness in the ascendant; much of trial and temptation, of fortitude and resignation, of sound sense and Christianity—but no tameness.\"The People's Journal compliments the novel's vigour, stating that \"the reader never tires, never sleeps: the swell and tide of an affluent existence, an irresistible energy, bears him onward, from first to last. It is impossible to deny that the author possesses native power in an uncommon degree—showing itself now in rapid headlong recital, now in stern, fierce, daring dashes in portraiture—anon in subtle, startling mental anatomy—here in a grand illusion, there in an original metaphor—again in a wild gush of genuine poetry.\"American publication The Nineteenth Century defended the novel against accusations of immorality, describing it as \"a work which has produced a decided sensation in this country and in England... Jane Eyre has made its mark upon the age, and even palsied the talons of mercenary criticism. Yes, critics hired to abuse or panegyrize, at so much per line, have felt a throb of human feeling pervade their veins, at the perusal of Jane Eyre. This is extraordinary—almost preternatural—smacking strongly of the miraculous—and yet it is true... We have seen Jane Eyre put down, as a work of gross immorality, and its author described as the very incarnation of sensualism. To any one, who has read the work, this may look ridiculous, and yet it is true.\"The Indicator, concerning speculation regarding the gender of the author, wrote, \"We doubt not it will soon cease to be a secret; but on one assertion we are willing to risk our critical reputation—and that is, that no woman wrote it. This was our decided conviction at the first perusal, and a somewhat careful study of the work has strengthened it. No woman in all the annals of feminine celebrity ever wrote such a style, terse yet eloquent, and filled with energy bordering sometimes almost on rudeness: no woman ever conceived such masculine characters as those portrayed here.\"\n\nTwentieth century\nLiterary critic Jerome Beaty believed the close first-person perspective leaves the reader \"too uncritically accepting of her worldview\", and often leads reading and conversation about the novel towards supporting Jane, regardless of how irregular her ideas or perspectives are.In 2003, the novel was ranked number 10 in the BBC's survey The Big Read.\n\nRomance genre\nBefore the Victorian era, Jane Austen wrote literary fiction that influenced later popular fiction, as did the work of the Brontë sisters produced in the 1840s. Brontë's love romance incorporates elements of both the gothic novel and Elizabethan drama, and \"demonstrate[s] the flexibility of the romance novel form.\"\n\nThemes\nRace\nThroughout the novel there are frequent themes relating to ideas of ethnicity (specifically that of Bertha), which are a reflection of the society that the novel is set within. Mr Rochester claims to have been forced to take on a \"mad\" Creole wife, a woman who grew up in the West Indies, and who is thought to be of mixed-race descent. In the analysis of several scholars, Bertha plays the role of the racialised \"other\" through the shared belief that she chose to follow in the footsteps of her parents. Her alcoholism and apparent mental instability cast her as someone who is incapable of restraining herself, almost forced to submit to the different vices she is a victim of. Many writers of the period believed that one could develop mental instability or mental illnesses simply based on their race.This means that those who were born of ethnicities associated with a darker complexion, or those who were not fully of European descent, were believed to be more mentally unstable than their white European counterparts were. According to American scholar Susan Meyer, in writing Jane Eyre Brontë was responding to the \"seemingly inevitable\" analogy in 19th-century European texts which \"[compared] white women with blacks in order to degrade both groups and assert the need for white male control\". Bertha serves as an example of both the multiracial population and of a ‘clean’ European, as she is seemingly able to pass as a white woman for the most part, but also is hinted towards being of an ‘impure’ race since she does not come from a purely white or European lineage. The title that she is given by others of being a Creole woman leaves her a stranger where she is not black but is also not considered to be white enough to fit into higher society.Unlike Bertha, Jane Eyre is thought of as being sound of mind before the reader is able to fully understand the character, simply because she is described as having a complexion that is pale and she has grown up in a European society rather than in an \"animalistic\" setting like Bertha. Jane is favoured heavily from the start of her interactions with Rochester, simply because like Rochester himself, she is deemed to be of a superior ethnic group than that of his first wife. While she still experiences some forms of repression throughout her life (the events of the Lowood Institution) none of them are as heavily taxing on her as that which is experienced by Bertha. Both women go through acts of suppression on behalf of the men in their lives, yet Jane is looked at with favour because of her supposed \"beauty\" that can be found in the colour of her skin. While both are characterised as falling outside of the normal feminine standards of this time, Jane is thought of as superior to Bertha because she demands respect and is able to use her talents as a governess, whereas Bertha is seen as a creature to be confined in the attic away from \"polite\" society.\n\nWide Sargasso Sea\nJean Rhys intended her critically acclaimed novel Wide Sargasso Sea as an account of the woman whom Rochester married and kept in his attic. The book won the notable WH Smith Literary Award in 1967. Rhys explores themes of dominance and dependence, especially in marriage, depicting the mutually painful relationship between a privileged English man and a Creole woman from Dominica made powerless on being duped and coerced by him and others. Both the man and the woman enter marriage under mistaken assumptions about the other partner. Her female lead marries Mr Rochester and deteriorates in England as \"The Madwoman in the Attic\". Rhys portrays this woman from a quite different perspective from the one in Jane Eyre.\n\nFeminism\nThe idea of the equality of men and women emerged more strongly in the Victorian period in Britain, after works by earlier writers, such as Mary Wollstonecraft. R. B. Martin described Jane Eyre as the first major feminist novel, \"although there is not a hint in the book of any desire for political, legal, educational, or even intellectual equality between the sexes.\" This is illustrated in chapter 23, when Jane responds to Rochester's callous and indirect proposal:\n\nDo you think I am an automaton? a machine without feelings?...Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? You think wrong—I have as much soul as you,—and full as much heart...I am not talking to you now through the medium of custom, conventionalities, nor even of mortal flesh;—it is my spirit that addresses your spirit; just as if both had passed through the grave, and we stood at God's feet, equal,—as we are.The novel \"acted as a catalyst\" to feminist criticism with the publication by S. Gilbert and S. Gubar's The Madwoman in the Attic (1979), the title of which alludes to Rochester's wife. The Brontës' fictions were cited by feminist critic Ellen Moers as prime examples of Female Gothic, exploring woman's entrapment within domestic space and subjection to patriarchal authority, and the transgressive and dangerous attempts to subvert and escape such restriction. Both Wuthering Heights and Jane Eyre explore this theme.\n\nNotes\nPassage 9:\nAunt Jane's Nieces\nAunt Jane's Nieces is the title of a juvenile novel published by Reilly & Britton in 1906, and written by L. Frank Baum under the pen name \"Edith Van Dyne.\" Since the book was the first in a series of novels designed for adolescent girls, its title was applied to the entire series of ten books, published between 1906 and 1918.\n\nInception\nThe book and the series were designed to appeal to the same audience as Louisa May Alcott's Little Women and Little Men. This was expressly stipulated in Baum's contract with Reilly & Britton, which stated:\n\nBaum shall deliver to the Reilly and Britton Co. on or before March 1, 1906, the manuscript of a book for young girls on the style of the Louisa M. Alcott stories, but not so good, the authorship to be ascribed to \"Ida May McFarland,\" or to \"Ethel Lynne\" or some other mythological female.\n\nPlot\nJane Merrick is a wealthy, elderly, difficult invalid woman who is preparing for her approaching death. In her youth, she inherited her money and estate from her fiancé, Thomas Bradley, who died before their wedding took place. With no children of her own, she calls for her three teenage nieces to visit her, so she can decide who will inherit her estate. They are Louise Merrick, Elizabeth De Graf, and Patsy Doyle, children of Jane's younger brother and sisters.\nLouise, seventeen years old, was small when her father died after struggling and failing to succeed in business. Aunt Jane refused his request for financial assistance. He left only his life insurance money, and Louise and her mother lived cheaply on the proceeds for years. However, they developed a plan to improve their lot. They decided to spend the entire principle of their funds on a three-year spree of fancy living to gain Louise an entrance into society, with a goal of finding a suitable husband to support them.\nBeth, fifteen, has two parents who can barely make ends meet, living under a tightly stretched budget. Aunt Jane refused a request for money from Beth's father just the previous year, and Beth cannot even trust him with her own money. Beth is a brooding small-town beauty, given to sullenness.\nSixteen-year-old Patsy manages and dotes on her Irish father after the death of her mother. Aunt Jane refused the only plea this sister ever made, for a loan to pay for medical care that might have saved her life. Patsy is a temperamental redhead who resents Aunt Jane's past neglect and determines to have nothing to do with the old woman's money.\nThe nieces visit Aunt Jane. (Patsy resists at first, but the willful Aunt Jane sends her lawyer to fetch the girl.) The three cousins display their contrasting traits: Louise, sweet but manipulative; Beth, her bluntness tinged with bitterness; and Patsy, forthright and gifted with a natural integrity. Patsy quickly takes herself out of the running for Aunt Jane's fortune, refusing to have any part of it. Yet the old woman takes a liking to the girl, precisely for her vigor, candor, and stubbornness.\nBeth finds Aunt Jane distasteful, but makes friends with the servants. Louise insists on \"nursing\" Aunt Jane, and showers her with gushing affection that Jane finds insincere but hard to resist. Patsy, having declared she does not want the money, visits Aunt Jane's room when she wishes, with an independence which pleases the invalid considerably.\nLiving on the estate is Jane's dead fiancé's nephew, Kenneth Forbes, who was born long after Thomas Bradley died. As charged in the will, Jane has provided for him since his mother died eight years previously, but despises him, putting him in a room in a distant wing of the house, and never dining with him. The humiliated and neglected boy has become sullen, shy and awkward. Despite his lessons, he seems ignorant, but has nowhere else to go, as Jane will not pay for better education for him. Kenneth's only supporter is Jane's lawyer, Silas Watson, who sees glimmers of Kenneth's possibilities and tries to convince Jane to do him justice. Kenneth is beginning to show some abilities at drawing, but does not think anything of his skill.\nAunt Jane has several servants, but the most unusual is James, the gardener, who loves the flowers as much as she does. He was with Thomas Bradley when he died, which traumatized him so badly that he rarely speaks.\nAunt Jane is also visited in her final days by her long-lost older brother, the girls' Uncle John. He dresses shabbily, and is presumed to be down and out; his sister gives him a place to stay. Uncle John exhibits the honesty, kindness and good sense that are lacking in most of the family. He befriends everyone, including poor Kenneth, in whom he takes a genuine interest.\nThe nieces gradually learn to accommodate themselves to their contrasting personalities. An incident electrifies the family: Beth and Louise have routinely been teasing Kenneth, causing him to flee the house via a plank stretched from the rooftop to a tree. When Patsy comes to see him about a horse, he runs for his escape, but falls off the edge. In full view of her aunt, she heroically pulls him up and saves him, but loses her balance and falls to the ground, breaking a leg.\nThis accident brings the young people together, breaking down the barriers between them. Kenneth learns to socialize with the girls and overcome his shyness, and the nieces begin to enjoy each other's company. Kenneth receives a mysterious gift of drawing materials, and begins to show his work to the girls. However, Jane's health continues to deteriorate, and she decides to make a will leaving the bulk of the estate to Patsy. Patsy refuses, and insists Jane should leave the estate to Kenneth. After fighting over this for many days, Jane pretends to give in to Patsy, but secretly invalidates the new will.\nA short while later Jane passes away in the garden, and poor gardener James is the unlucky one who finds her. He runs shrieking away, to hide in his room for days.\nThe inheritance drama comes to a head over not one last will and testament, but three. After the funeral, Silas Watson opens the envelope containing the last will, and discovers that Jane has torn off the signatures and voided it. Her previous will, leaving the estate to Patsy with token amounts to the others, comes into effect. Patsy pledges to give the estate to Kenneth when she comes of age, and to increase her cousin's cash portions.\nThe group is suddenly called to James' room, where he lies dying after being kicked by a horse. This has shocked him into his right mind for the first time since Thomas Bradley's death years ago. He tells them about the accident, and how he drew the grievously injured man from the wreck. He explains that \"Master Tom\" demanded paper to make out a new will. The conductor and James both signed it to make it legal. However, the dying James does not recognize the people around him, who look so old to his now-young brain, and refuses to give them the will. He dies, and Watson and Uncle John search the room and find it. In the hasty will, Thomas bequeathed to Jane the use of his estate during her lifetime, after which it should revert to his sister and her descendants. In other words, Jane had no ability to will anything to anyone, and Kenneth is the sole rightful heir.\nWhen this is announced, the group is shocked. There are no cash bequests to anyone – the fortune is all Kenneth's. The girls decide to go home; since Uncle John seems homeless, Patsy invites him to move in with her and her father.\nBack in New York, Uncle John is quietly bemused by their poor apartment and his bed on the sofa. When they leave for work, he slips into an uptown banker's office where he meets with important people who treat him deferentially. After a week, Patsy receives her first surprise from an unknown benefactor – keys to a lovely furnished apartment provided free for at least three years. When they nervously visit it, they discover it has been fitted out completely, and a maid rings the bell reporting for duty, all her wages prepaid.\nWhile Patsy and her father retrieve their things from the old apartment, Uncle John makes a quick visit to Louise and her mother, who treat him coldly. He leaves, embarrassed, but in the distance Louise's banker neighbor points him out: \"he's worth from eighty to ninety millions, at least, and controls most of the canning and tin-plate industries of America.\"Patsy is concerned about the apartment, but Uncle John says, \"There is nothing too good for a brave, honest girl who's [sic] heart is in the right place.\" Subsequently, Patsy reports for work and is told she's been fired. When she returns home, she finds a lady waiting to tutor her, to prepare her for women's college. That afternoon, to her delight, a piano teacher arrives. In the meantime, her father is informed that his firm's bankers would like to employ him, in a job that requires very few hours and pays a generous sum. Days later, he encounters Uncle John at the bank conducting his business, and learns the truth. At home, John points out that they all assumed he was poor, and he simply did not correct them. He promises to give the use of substantial money to both of the other girls' families, which can then be left to the nieces, so that they will not be in need.\nUncle John asks if he can continue to stay with Patsy and her father. She says, \"I never meant to part with you, when I thought you poor, and I'll not desert you now that I know you're rich.\"\n\nCriticism\nThe novel \"is genuinely original and interesting. It focuses on three adolescent girls, two of whom combine basic good character with ugly traits not usually found in fiction for young girls. Baum starts with a trite situation that could occasion prosy moralizing...and gives it several original twists.\"\n\nThe series\nThe rest of the novels in the series feature travel, adventures, accidents, a kidnapping and rescue, romances, and a marriage for Louise. The final novel, Aunt Jane's Nieces in the Red Cross, was originally published in 1915, when the United States was still neutral in World War I; the nieces treat the wounded of both sides, and express the hope that the War will soon be over. The publisher issued a revised edition in 1918, with a darker treatment of the subject.\nAunt Jane's Nieces, 1906 (2005)\nAunt Jane's Nieces Abroad, 1907 (2007)\nAunt Jane's Nieces at Millville, 1908 (2005)\nAunt Jane's Nieces at Work, 1909 (2005)\nAunt Jane's Nieces in Society, 1910 (2005)\nAunt Jane's Nieces and Uncle John, 1911 (2005)\nAunt Jane's Nieces on Vacation, 1912 (2005)\nAunt Jane's Nieces on the Ranch, 1913\nAunt Jane's Nieces Out West, 1914 (2005)\nAunt Jane's Nieces in the Red Cross, 1915/1918 (2006)In the original editions, each book had a cover illustration and a frontispiece. The first eight volumes in the series were illustrated by Emile A. Nelson, and the ninth by James McCracken. The tenth was illustrated by Norman P. Hall, who had contributed one picture to Baum's 1901 collection American Fairy Tales.\n(The Edith Van Dyne pseudonym was also used for other Baum works, the two Flying Girl books of 1911–12, and his Mary Louise stories of 1916–20.)\n\nPopular success\nIn their era, the Aunt Jane's Nieces books were as successful with their target audience as the Oz books were with younger children. In 1911 the six titles then in print sold 22,569 copies. Indeed, toward the end of Baum's life they outsold the Oz books. (The books were popular as grammar-school graduation gifts for girls.) After the 1920s the books were largely forgotten for the rest of the century, except for Baum enthusiasts and a small but growing coterie of Baum scholars. By the turn of the 21st century, however, the trend of re-evaluation and re-publication of Baum's works reached the series: nine of the ten books were reprinted between 2005 and 2007.",6 "char_len": 71597,7 "document_hash": "6f15254c2159cf8093819636099906378a44b326340e4b503573405657ce187a",8 "questions": [9 {10 "question_id": "q00",11 "qtype": "hotpotqa",12 "question": "The telenova \"El Ardiente Secreto\" was based ona novel published under what pen name?"13 }14 ]15}