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Växjö Universitet Comparison of Jane Eyre and “Cinderella”

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Växjö Universitet Comparison of Jane Eyre and “Cinderella” Växjö universitet Institution för humaniora Nivå G3 Engelska EN3203 Handledare: Lena Christensen 15 högskolepoäng Examinator: Maria Olaussen 090601 Comparison of Jane Eyre and “Cinderella” with the help of Vladimir Propp’s thesis Cecilia Öhlander Abstract This is an analysis of Jane Eyre’s structure and plot in comparison with Vladimir Propp’s thesis the Morphology of the Folktale, which shows resemblance with the Grimm brothers’ “Cinderella”. 2 Table of Contents 1. Introduction 4 2. Propp’s Morphology of the folktale 6 3. Analysis of Jane Eyre 11 4. Comparison of Jane Eyre with “Cinderella” 20 5. Conclusion 26 6. Bibliography 28 7. Appendix 1 30 8. Appendix 2 36 9. Appendix 3 50 3 Introduction Jane Eyre by Charlotte Brontë is a well-known classic, which has innumerable followers. Amongst these are the Bildungsromans that portray personal and educational development, for example L M Montgomery’s portrayal of Anne of Green Gables and Astrid Lindgren’s Pippi Longstocking, which Nalle Valtiala investigates in his article “Jane Eyres döttrar tar för sig av livet” (10). There has also been a diverse mix of Jane Eyre adaptations appearing on stage and in musical and television productions. This variety of adaptations could be indicative of Jane Eyre’s bold mixture of genres. As has been mentioned Jane Eyre is seen as belonging to the “Bildungsroman” genre, and furthermore to genres like the governess novel, the Gothic tradition, the romance novel and the traditional Victorian novel of manners. Jane Eyre is also noted for its literary allusions to the Bible and traits from fairy tales. Also, both feminist and Marxist critics have highlighted the urge for power and independence for women in Jane Eyre. The narrative structure of Jane Eyre alludes to several tales such as “Bluebeard’s Castle” with Rochester’s presentation as a goblin with several dead wives, a stark comparison to “Beauty and the Beast” with Rochester here pictured as a good man under an ugly surface. Arguably, the strongest fairy tale element in Jane Eyre is the use of the classic Cinderella tale, and especially the German version “Ash Girl” by the Grimm brothers, to which it has a general resemblance. The Grimm brothers’ “Ash Girl” (Aschenputtel) in Kinder und Hausmärchen from 1812, has religious allusions and is coarser than Charles Perrault’s “Cendrillon” from 1697 in Histoires ou Contes du Temps Passé. Just like Ash Girl or Cinderella, Jane is mistreated by a cruel substitute for a mother and mean relatives. However, due to hard work, intelligence, a good heart and soul as well as some supernatural traces, she ultimately reaches happiness by marrying her “prince”, that is Mr Rochester, who is the love of her life. Yet, Jane is not a traditional Cinderella, rather she is a strong and unconventional heroine. According to the two dominant versions of the Cinderella tale, Charles Perrault’s “Cendrillon” and the Grimm brothers’ “Ash Girl”, Cinderella is pictured as a girl who submissively obeys to everything her stepmother and stepsisters want. The morale is that Cinderella’s nice and honourable behaviour wins her the love of her prince (Robbins 102-103). Moreover, Cinderella’s beauty is also of great importance for this success. At every ball: “everyone was amazed at her beauty (…) and the king’s son danced only with her” (Grimm 27). In contrast to the French version the Grimms’ Cinderella leaves the ball of her own free will (Clarke 699). Similarly, Jane shows her free will several times in Jane Eyre. 4 However, Jane stretches the boundaries for women a lot further than Grimm’s “Ash Girl” with her quest for freedom, independence and education. I claim that there is an underlying resemblance between Jane Eyre’s narrative structure and plot with the Grimm brothers’ “Ash Girl” and that Jane Eyre is an unconventional, strong and active Cinderella, a new kind of heroine. My purpose is to look at Jane Eyre from a narrative perspective and compare the structure with Propp’s thesis regarding a fairy tale’s structure, as set out in his Morphology of the Folktale, and with the Grimm brothers’ “Ash Girl”. I will highlight and describe the Cinderella concept within the pattern of fairy tale and look at how gender is presented within this frame. Throughout the essay the term “Cinderella” will be used synonymously with the Grimm brothers’ “Ash Girl”. All other versions as well as the general concept of the tale will be referred to as the Cinderella tale or otherwise explicitly cited. There is a great amount of books and articles dealing with Jane Eyre. I have chosen literature that discusses Jane Eyre in comparison with the Cinderella tale and in particular to the Grimm brothers’ “Ash Girl”. Furthermore, I have used theoretical novels and articles about Propp’s thesis The Morphology of the Folktale. Among the main sources in the essay is the German Cinderella tale “Ash Girl” (Aschenputtel) by Jacob and Wilhelm Grimm (which is edited by Alan Dundes in 1982). I also use Micael M. Clarke’s article “Brontë’s Jane Eyre and the Grimms’ Cinderella”, the articles “Jane Eyre and the World of Faery” by Robert K. Martin and “ The Fairy-Tale Façade: Cinderella’s Anti-grotesque Dream” by Alexandra Robbins as they acknowledge comparisons between Jane Eyre and the Grimm brother’s “Cinderella”. In addition to these, I also use the article “Intimacy without immolation: fire in Jane Eyre” by Cynthia Carlton-Ford, which emphasizes Jane Eyre as a feminist fairy tale. Also, Claude Levi-Strauss’s article “Structure and Form: Reflections on a Work by Vladimir Propp” is used, which discusses Propp’s thesis and argues for an approach where not only the structure or plot is considered but also the context. Finally, obviously Vladimir Propp’s Morphology of the Folktale is used as the underlying tool for the theoretical approach. 5 Propp’s Morphology of the folktale In order to see parallels to fairy tales in general and to “Cinderella” in particular, it is vital to study Jane Eyre’s narrative structure and plot. The Russian formalist Vladimir Propp (1895- 1970), famous for his study on Russian folktales, identifies in the thesis The Morphology of the Folktale that there are specific structures and plots in fairy tales (Propp 23-24). Propp’s analysis assumes that a fairy tale is a specific branch of folktale (Propp 19). Propp makes his analysis on a selection of about one hundred Russian fairy tales from the Russian ethnographer A.N Afanás’ev’s folktale collection. Afanás’ev is the first one to have gathered Russian folktales. Propp’s selection is inclusive of all versions of actions or events in fairytales according to Propp (23-24). A folktale is any variety of a traditional narrative, in both oral and literary form. It consists of various sub-genres like animal tales, religious tales and anecdotes and jokes. The Finnish folklorist Anti Aarne came up with a classification system of folktales into different subclasses. Propp redefines Aarne’s subclass magic tales, from number 300 to 749, as fairy tales (Propp 19). Propp’s selection of Russian tales from Afaná’ev’s folktale collection is made according to this fairy tale classification. Fairy tales are tales that are fictional and they include supernatural objects, events and characters. Some of the characters can be goblins, elves and fairies. Propp is critical towards Aarne’s classification system of folktales as it ignores the actions in each tale and more or less only tries to classify tales according to themes or genres (Propp 10-11). Propp’s aim is to give fairy tales a description. In a formalist method the narrative structure is broken down into its smallest basic plot component in a tale. Propp defines these smallest narrative units, which Propp sees as corresponding to different actions in the plot, as functions (Propp 20-21). By this analysis Propp creates a typology of narrative structures. Just like sentences can be divided into specific grammatical units, Propp’s method describes tales according to their different parts. By looking at different actions that is functions as well as characters in these tales, Propp concludes that there are only thirty-one generic actions or functions in fairy tales (Propp 64). Furthermore, Propp states that: “Function is understood as an act of a character, defined from the point of view of its significance for the course of the action (…) independent of how and by whom they are fulfilled” (Propp 21). That is to say, the tales characters are replaceable but the functions or actions are all from the same typology system. One example of a function is function number I, which is “one of the members of a family absents himself from home” (Propp 26). Thus, in this scene the action of absenteeism is defining the event and not the person who departs. According to Propp’s 6 typology, a function is often classified according to the noun giving the function or action its meaning, like for example interdiction and interrogation. (Propp 20-21). In deciding the type of function it is vital to consider its position in the narrative. Propp states that the functions always appear in the same chronological sequence, even though all are not found in every tale (Propp 22). For example function number VI is always before function number VIII, no matter whether the intermediate ones are missing or not. However, we shall see later that there are exceptions to this order of functions. Furthermore, Propp divides functions into different sub-functions. Propp states that the functions are to be regarded as the basic and general types and these are further defined by connecting sub-functions.
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