Jean Rhys' Wide Sargasso Sea
#The Madwoman in the Attic :
In Jane Eyre, the character of Bertha Mason represents the archetype of the "madwoman in the attic." Confined to the attic of Thornfield Hall, Bertha is characterized as a foreign, dangerous figure, embodying the fears and anxieties of Victorian society regarding female autonomy and sexuality. Critics like Sandra Gilbert and Susan Gubar in their seminal work The Madwoman in the Attic argue that Bertha symbolizes the repressed female creativity and anger. They state,
“The madwoman is not merely a figure of insanity; she is the embodiment of repressed female desire” (Gilbert & Gubar, 1979)
In contrast, Rhys’ Wide Sargasso Sea provides a more nuanced perspective on insanity through the character of Antoinette Cosway. Rhys reimagines Bertha's backstory, depicting her as a product of colonial oppression and familial dysfunction. Antoinette’s madness is intricately tied to her identity, environment, and the trauma of colonialism. As she states, “I am not mad, I am not mad... It is the world that is mad” (Rhys, 1966). This line encapsulates her struggle against the societal forces that seek to define her identity. Rhys suggests that madness is not inherent but is a response to external circumstances.
#Comparative Analysis of Female Sensibility :
Conversely, Rhys' portrayal of Antoinette highlights the fragility of female identity in a postcolonial context. Antoinette’s descent into madness is a result of her alienation from both her Creole heritage and her European identity. Unlike Jane, who finds her voice, Antoinette's struggle culminates in her complete disempowerment. The juxtaposition of these two characters underscores the varying degrees of agency afforded to women based on their socio-political contexts. Rhys critiques the romanticization of female madness prevalent in Brontë’s narrative, offering a more tragic and complex representation.
"There is no looking glass here and I don't know what I am like now. I remember watching myself brush my hair and how my eyes looked back at me. The girl I saw was myself yet not quite myself. Long ago when I was a child and very lonely I tried to kiss her. But the glass was between us—hard, cold and misted over with my breath. Now they have taken everything away. What am I doing in this place and who am I?"
This quote reveals how lost Antoinette feels about who she is. The "looking glass" or mirror represents her ability to see herself clearly. Without it, she struggles to understand her own identity. When she says, “the girl I saw was myself yet not quite myself,” it shows that while she recognizes her face, she feels disconnected from who she really is. This feeling of being "not quite myself" highlights her inner conflict.
Antoinette also remembers a time from her childhood when she felt very lonely. She tried to kiss her reflection in the mirror, which symbolizes her desire for connection—not just with herself, but with others as well. The glass being described as “hard, cold and misted over” suggests that she feels trapped and isolated. The mist represents her confusion and the barriers that keep her from feeling whole.
#Madness and Colonialism in Wide Sargasso Sea :
Rhys’ Wide Sargasso Sea can be viewed through a postcolonial lens, reflecting the complexities of identity and power in a colonial setting. The novel critiques the colonial enterprise and its impact on both the colonizers and the colonized. The character of Antoinette embodies the trauma of colonialism, caught between her European lineage and her Creole upbringing. Critics have noted that Rhys illustrates how colonial legacies contribute to personal and collective madness, as seen in Antoinette’s alienation from both her home and her self.
One of the significant aspects of Wide Sargasso Sea is its exploration of the theme of identity in a postcolonial context. Antoinette’s struggle for self-definition is complicated by her hybrid identity. As she states, “I am an outsider. I am not one of you” (Rhys, 1966). This statement encapsulates her sense of dislocation and highlights the effects of colonialism on personal identity. The colonial setting serves as a backdrop to Antoinette’s inner turmoil, showcasing how external factors contribute to her psychological decline.
Moreover, the relationship between Antoinette and her husband, Rochester, symbolizes the power dynamics inherent in colonial and patriarchal systems. Rochester's dismissal of Antoinette’s heritage and identity further illustrates the destructive impact of colonialism. He views her as a possession rather than a partner, leading to her eventual madness. Critics such as Justin argue that “Rochester’s relationship with Antoinette reflects the imperial gaze that objectifies and dehumanizes the colonized” (Justin and GOVERNMENT FIRST GRADE COLLEGE HOSKOTE BANGALORE RURAL 562114)
Rochester's inability to understand or appreciate Antoinette's background illustrates the cultural disconnect that often accompanies colonial relationships. He is uncomfortable with her Creole identity and the haunting legacy of her family's history in Jamaica. His rejection of her heritage is a reflection of the colonial attitude that devalues local cultures. He often dismisses her connection to the land, viewing her as a foreign element that must be tamed.
The changing nature around Antoinette often mirrors her emotional state. When she is happy, the garden is alive and flourishing. However, as her life becomes more oppressive, the beauty of the landscape transforms into something darker. For example, the scene where she observes the decay of her surroundings parallels her mental decline, highlighting the interconnectedness of environment and emotion.
Both Jane Eyre and Wide Sargasso Sea offer profound insights into the themes of madness, identity, and female sensibility. While Brontë's portrayal of Bertha Mason serves as a critique of Victorian attitudes towards female autonomy, Rhys’ reimagining of her character provides a postcolonial perspective that emphasizes the intersection of gender and colonialism.
The madness of Antoinette is not simply a personal failing; it is a reflection of the societal and historical forces that shape her identity. Together, these texts illuminate the complexities of female experience and the enduring impact of cultural narratives on women's lives. As such, they remain significant in their exploration of the female psyche, challenging traditional representations of womanhood and madness.
Thank You.
References :
Gilbert, Sandra M., and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. Yale UP, 2000.
Justin, Biju and GOVERNMENT FIRST GRADE COLLEGE HOSKOTE BANGALORE RURAL 562114. “Postcolonial Discourse in Jean Rhys’ Wide Sargasso Sea.” International Journal of Research in Social Sciences, vol. Vol.9, no. Issue 12, journal-article, Nov. 2019, pp. 428–29. www.ijmra.us/project%20doc/2019/IJRSS_DECEMBER2019/IJRSSDec19BijuRy.pdf.
Rhys, Jean. “Wide Sarragaso Sea.” Wide Sargasso Sea (1966), 2001, pp. 145–51. https://doi.org/10.1007/978-1-137-08108-7_22.
“Uneven Developments.” University of Chicago Press, 2 Mar. 2024, press.uchicago.edu/ucp/books/book/chicago/U/bo5958627.html. Accessed 2 Nov. 2024.
Gil
No comments:
Post a Comment