Madwoman in the Attic (Part II)
The madwoman in the attic has been reivindicated by both postcolonialists and feminists as a symbol of patriarchal oppression and social injustice. According to Gayatri Chakravorty Spivak, in her influential essay, ‘Three women’s texts and a critique of imperialism,‘ it is impossible to approach nineteenth-century British literature without bearing in mind that Imperialism, constituted “a crucial part of the cultural representation of England to the English.”
Spivak belongs to the so-called second-wave of feminist theoreticians writing mainly in the 1970s and 80s comprised by authors such as Betty Friedan, Germaine Greer and Kate Millet, whose Sexual Politics (1970) is the best known work of this period. Gilbert and Gubar’s work reviewed in my previous post was written within this time frame, as was Elaine Showalter’s influential and inspiring work on women novelists in A Literature of Their Own (1978), more recently revised in her article, Twenty Years on: “A Literature of Their Own” Revisited
Their views can be summarized in Barbara Johnson’s famous quote, “the question of gender is a question of language.” The feminist approach is based on the assumption that that gender difference is located in and transferred through language. And subsequently, the language used to transmit culture through literature, was high on their targets for criticism. However, Feminist Literary Criticism was soon to join forces with Postcolonial Criticism. Spivak was one of the first academics who related to the rise of feminisms among women of color in the area of Postcolonial Studies by examining the effects of political independence upon subaltern, or subproletarian women, in third world countries.
In the above mentioned article, Spivak has taken Charlotte Bronte´s novel and Jean Rhys’s 1960s ‘writing back’ or reinterpretation of the events prior to Jane Eyre’s appearance at Thornfield Hall, as her starting point for a literary reinterpretation of Patriarchy and Colonialism in their diverse representations of ‘the mad Creole’ (in Rochester’s words).
Firstly, I would like make it clear, as Spivak did herself, that this is in no way a criticism of the author, Charlotte Bronte, whose intentions we cannot fully gauge, but of the characters she recreated and we are free to reinterpret. In any case, it is my opinion, that Bronte was well aware of Rochester’s lack of character; after all she portrayed him in with all his faults. She was however subtle enough to show him through the ‘blind’ eyes of his beloved Jane Eyre, but that does not mean that her eyes are truthful. Jane is not a reliable narrator with respect to Rochester: she is a woman blindly in love. The reader, on the other hand need not be blindly in love with him, too. Although many have succumbed to his spell, Rochester is the real villain in Jane Eyre.
The figure of Bertha Mason is, according to Spivak, produced by the rise of imperialism. She is a white Jamaican Creole, who is portrayed both by Jane and Rochester (through Jane’s reinterpretation of Rochester’s words), on the frontier between the human and the animal. This is Jane’s famous description of her when she first saw her in her prison-attic at Thornfield Hall, after the interrupted wedding to Rochester:
“The maniac bellowed: she parted her shaggy locks from her visage, and gazed wildly at her visitors. I recognized well that purple face,—those bloated features.”
Rochester’s description of her is no less pejorative. He refers to her as: “The lunatic is both cunning and malignant;”, and “What a pigmy intellect she had, and what giant propensities!”, and “Bertha Mason is mad; and she came of a mad family; idiots and maniacs through three generations? Her mother, the Creole, was both a madwoman and a drunkard!—”
Forty years after Jane Eyre was published, Jean Rhys, was born on the Caribbean Island of Dominica, where she read the novel as a child, she was moved by Bertha Mason: “I thought I’d try to write her a life.” Wide Sargasso Sea, published in 1965, is Bertha’s life from her childhood to her death.
Spivak’s essay reminds us that in Ovid’s Metamorphoses, Narcissus’ madness is disclosed when he recognizes his other as his self: “iste ego sum.” in WSS Bertha Antoinette sees her other self in the mirror: “I went into the hall again with the tall candle in my hand. It was then that I saw her — the ghost. The woman with streaming hair. She was surrounded by a gilt frame but I knew her” (WSS, p. 154). The gilt frame encloses a mirror in whose reflection bertha sees her other self. But who is this other self? Is it Bertha or is it Jane Eyre? After this dream vision, Bertha finally understands her mission at Thornfield Hall: “now at last I know why I was brought here and what I have to do” (WSS, pp. 155-56), and she burns down the house and takes her life, ironically so that her other self (Jane Eyre) can become the heroine of Bronte’s novel and marry Mr. Rochester.
Bertha was originally created in Jane Eyre as a secondary, yet essential character within the novel. Any reinterpretation of this character must be based on surfacing the subtext of the original novel. That is, of unearthing the subtleties of her story. Bertha never speaks, she was metaphorically gagged, until Jean Rhys wrote her story and reminded us that everyone has the right to be heard albeit belatedly, in the 20th century, in spite of being denied a voice in the 19th century. Bertha cannot move or be seen, because she is literally confined in a windowless room. Unseen and Unheard. She is an invisible, voiceless, and imprisoned human being, and yet in spite of this Rochester has been hailed as the hero of the novel for over 160 years!
Well, it’s time to question Bertha’s madness and listen to what she had to say. It’s time to see her, hear her, and let her have a life! Jean Rhys started the ball rolling with her prequel WSS, and I’ve picked up the ball and kept it rolling with a sequel. My novel, All Hallows at Eyre Hall, (to be published very shortly on Amazon. There’s a preview on another page on this blog!), takes up the story twenty-three years after Bertha’s death. However, she is powerfully present throughout my novel, from page one. I have given Bertha a very strong voice. I’ve given her a daughter to speak up for her and claim her dues, and I’ve also reconciled her with Jane Eyre Rochester, who has grown up and out of love, so she can see Bertha as she really was, not as Rochester wanted her to be seen.