In the Reed house, when Jane is reading Bewick’s History of British Birds while sitting in the window with "folds of scarlet drapery” enclosing her from the right and “clear panes of glass, protecting, but not separating her from the drear November day" at Gateshead Hall (Bronte 1). The cold and wet window with red curtains depict the theme of fire and water. Solomon argues in his article Jane Eyre: Fire and Water that these two nature imagery which shows Jane's character, her strengths, and weaknesses which depend on the other people and location around her. Her absorbent personality, easily impacted by these dominant tropes that lie within certain characters of the novel, but she is never fully controlled by any of them. It is this duality within her that allows her to escape both extremes, the fiery Edward Rochester, and the ice-cold St. John Rivers, and to finally land in a “golden mean” between “the flames of passion and the waters of pure reason” (Solomon
In the Reed house, when Jane is reading Bewick’s History of British Birds while sitting in the window with "folds of scarlet drapery” enclosing her from the right and “clear panes of glass, protecting, but not separating her from the drear November day" at Gateshead Hall (Bronte 1). The cold and wet window with red curtains depict the theme of fire and water. Solomon argues in his article Jane Eyre: Fire and Water that these two nature imagery which shows Jane's character, her strengths, and weaknesses which depend on the other people and location around her. Her absorbent personality, easily impacted by these dominant tropes that lie within certain characters of the novel, but she is never fully controlled by any of them. It is this duality within her that allows her to escape both extremes, the fiery Edward Rochester, and the ice-cold St. John Rivers, and to finally land in a “golden mean” between “the flames of passion and the waters of pure reason” (Solomon