Hi everybody. Use the comments feature to let the rest of us know what you plan to bring to our celebration on Wednesday evening.

As you read the materials you find through your research, you should be moving toward an epiphany—about exactly how you focus your research project and begin to craft an argument about your topic. Look to your sources—both primary and secondary—to help you do this. As you begin to focus, discard sources you won’t need and begin grappling with patterns, questions, tensions, and debates that emerge from the ones you keep. With all this in mind, construct an annotated bibliography that includes all or most of the following information for each of your sources:

1. The complete bibliographical citation (using MLA Style)
2. An explanation of the content of the source, including its main purpose, argument, and evidence
4. Possible audiences for the source
5. An explanation of what the source contributes to your particular project
6. An evaluation of the source (including both strengths and weaknesses: reliability, bias, clarity, methods, etc.)

Divide your bibliography into two parts and use the guidelines below:

A. Sources you already have and plan to use: List these in alphabetical order, according to MLA style for Works Cited entries. Put the bibliographic information in bold and follow it with a 3 or 4 sentence description.

B. Sources you still need: List types of sources you know you need but haven’t yet been able to find. Put these general descriptions in bold and follow each with an explanation of why you need the source and how you might find it (through the main catalog, particular databases or search engines, a particular type of scholarly journal, on the web site of an certain kind of organization, etc.).

Note: When you’ve received the bibliographies of your group members, look through them and see if you have any ideas for additional sources or for helping them find the sources that they haven’t tracked down yet. Send each of them a note with your suggestions.

Sample annotated bibliography entries:

LaBerge, Stephen. Exploring the World of Lucid Dreaming. New York: Ballantine Books, 1990.
LaBerge is one of the most prominent lucid dream researchers in the world and faculty at Stanford University, where he conducts his research. His book is a “how to,” written for a popular audience. Though LaBerge is a prominent and respected researcher in the field, the book’s tone is similar to that of a self-help pop psychology text. Some of his ideas verge on the mystical as well, which makes the source interesting in terms of representing the often New Age-y approach that many lucid dreamers take. But the tone, combined with a lack of detailed clinical evidence, makes the book less convincing than LaBerge’s more strictly academic publications. The book is useful for my project, because it will help me describe the “culture” that surrounds lucid dreaming, but it will need to be augmented by more detailed clinical studies, by both LaBerge and others.

Richardson, James. “The Dream of Reading.” The Yale Review 88.4 (October 2000): 80 – 108.
Richardson is a poet writing literary criticism. The essay, like Elaine Scarry’s Dreaming by the Book and much of Bert O.States’s work, makes an analogy between dreaming and reading. Richardson focuses mainly on poetry, but he incorporates quite a bit of discussion of neurobiology, citing Hobson and others. While this extremely graceful essay doesn’t focus on lucid dreaming in any explicit way, I’m interested in figuring out whether Richardson’s analogy holds true with regard to lucid dreams, which involve greater control—or agency—than ordinary dreams. I may even make a chart that lists the qualities Richardson attributes to reading and dreaming and then add my own third category, lucid dreaming, to see where this third category converges and diverges with the other two.

You will want to:

•    describe your interest in the topic
•    consider the challenges of making an argument about your topic
•    present your working hypothesis
•    explain how course readings address your topic
•    introduce other source materials you’ve found and explain how and what they will contribute; explain how your various sources will work in dialogue with each other
•    describe your research methodology (how you are finding your materials)
•    speculate about what kinds of source material you still need to find
•    say a little about your style of writing and how it will serve you on this project
•    ask for questions, comments, and suggestions

An oral presentation is always more successful when you are well-prepared but not over-prepared. You want to be organized and rehearsed, but you also want to be yourself. Make your audience members feel that you are speaking to them—about something that matters to both of you. It’s important to speak clearly (not too quickly) and make eye contact, and that you genuinely communicate with your audience. Your oral presentation should lay the groundwork for a productive conversation. We will be on a tight schedule, so be sure to limit your presentation to five minutes. When you’re finished, the rest of us will ask you questions about your project and make suggestions.

April 28: Kathleen, Melissa, Sara, Elyse, Fotini, Hasina, Chris, Brett

May 5: Shane, Serene, Alison, Eileen, Jocelyn, Mike, Joanne, Danabelle

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Front Exterior, Entrance and Ticket Booth

Dalí built the Dream of Venus for the 1939 World’s Fair, right here in Flushing. The entrance is pictured above. Notice a cutout of Botticelli’s “Birth of Venus” (c. 1482) overlooking fair-goers, whow would have to pass through the giant pair of woman’s legs and purchase their tickets at the fish head ticket booth that extends beneath them. As you scroll through the images below, you’ll see a lot of images familiar already from Dalí’s personal iconography.

Dalí wasn’t satisfied with the results of the installation. It had been compromised by the process and by limitations imposed by the administrators and politicians behind the World’s Fair. Nonetheless, he brought surrrealism to the masses–with a sense of humor and a characteristic penchant for violating taboos. Dalí’s installation is conceived as an artistic version of a “girlie show,” the kind audiences would have been familiar with from traveling carnivals. The framework of the dream justifies Dalí’s use of live nudes and bizarre imagery. He called his method the “paranoiac critical.” In his essay “The Conquest of the Irrational,” Dalí defined the method as the “spontaneous method of irrational knowledge based on the interpretative critial association of delirious phenomena” (49). Basically, Dalí wanted to emphasize the mind’s ability to form associations between apparently unrelated images and ideas–and therefore make meaning out of them. The “paranoia” is the making of seemingly meaningless associations, adn the “critical” is making meaning out of them.

With Dream of Venus, he brought this method to unsuspecting audiences enjoying the spectacle of the World’s Fair. Imagine yourself at a fair and stumbling through those giant legs to witness the stream of images below (and many more). The experience may have felt a little like a waking dream.

Work Cited

Dalí, Salvador, “The Conquest of the Irrational,” 1936. Reprinted in Salvador Dali: A Panorama of His Art, ed. A. Reynolds Morse. Cleveland, Ohio: Salvador Dali Museum, 1974.

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Front Exterior

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Venus Dreaming

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Diving Woman

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Leopard and Melting Clocks

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Taxi Rider

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Dalí with Head

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Dalí under the Piano

Dalí's Dream of Venus (1939 World's Fair, Flushing, NY); Dalí at Work

You should all be using at least two or three of these databases, depending on your projects. For most of you, it’s a good idea to search all of them and see what you come up with. Your sources can make or break your topic, because they determine what you can learn about it, and that determines what you can write about it.

Finally, it’s also a good idea just to look around the IASD site and see if you can find materials related to your topic.

1.)    You must create dialogue between some form of art and some form of dream theory.
2.)    In addition to course reading, you must engage sources you find through our own research.

(The balance of course reading and outside research or art and theory will vary, depending on the project. We’ll discuss various possibilities and do a fair amount of collective brainstorming in the coming weeks.)

Getting Started
Start with our course reading. Think about ideas, questions, writers, or texts that have caught your attention. Scroll through the blogs—your own and your classmates’. Let your mind wander over this material informally. Brainstorm out loud with classmates, with me, with friends or relatives. Jot down some ideas, either on your own or on your blog. Take a look at some of the links on our Blackboard site. Spend some time on the Association for the Study of Dreams web site. Take notes and keep in mind that you are in search of a genuine question about some aspect of dreams, a question that arises in the reading you’ve done but is not exhausted by any of the texts we’ve read.

Where and How to Find Sources
Once you have an idea or two (or three), look through the works cited lists of some of our course texts, for other sources that might help you develop your ideas. Get your hands on some of these sources and see if reading them prompts you to change direction or reformulate your question. In a few weeks, we’ll spend some time working with some of the Library’s databases (for example the MLA Bibliography, PsychInfo, or EBSCO). These will help you find more sources, which will in turn help you think about your topic in new ways. The research process is seldom simple or linear. It involves brainstorming, searching, reading, writing, re-reading, revising, more brainstorming, more searching and reading, more writing, etc. It will involve exciting moments of discovery and frustrating dead ends. Let your ideas develop a step at a time.

Writing with Purpose
Be sure you develop your project, as mentioned above, around a genuine question or problem. Be sure also that you re-evaluate your question as the project evolves. Keep in touch with your motive and be aware of how your ideas and arguments fit within the ongoing conversations underway in your sources. (Kerry Walk’s handout on “Motivating Moves,” available under “Course Documents,” is useful for helping you think about motive, or purpose.)

Audience
Write an essay people want to read, and have an audience in mind. It’s safe to imagine your readers as educated and intellectually curious people who are likely to know little or nothing about dream theory but perhaps a little more about the works of art or authors you discuss. These readers will want to learn something and be engaged (or entertained). They will want to come away from your essay with new information, something they can talk about at dinner parties or at work: “Hey, did you read that article about lucid dreams? The writer made this really interesting argument.” If you can inspire readers to do that, you will have been successful. To make this work, you will need to be thorough in your research, to digest the material you find, synthesize it, and write about it in clear, engaging prose.

Format
The finished essay should be between 3,000 – 4,000 words (approximately 12 – 16 pages) in length. Please use a 12-point font and 1” margins. Include page numbers, a title, and Works Cited list. Use MLA Style. (See link on on this site for Purdue University’s Online Writing Lab guidelines for MLA Style.)

Cover Letters
Submit a cover letter with each draft or revision of your essay. Use the cover letter to orient your readers—explaining what you set out to accomplish, what you still need to work on, and what kind of help you would like. Be specific. You might even include a list.

Writing Groups
Each of you is assigned to a writing group. In these groups, you will read and provide feedback on each other’s  essay sketches, annotated bibliographies, and drafts. (I’ll give you more detailed instructions when the time approaches.)

1. Sara, Shane, Serene

2. Kathleen, Eileen, Elyse

3. Jocelyn, Danabelle, Chris, Brett

4. Fotini, Michael, Hasina

5. Melissa, Joanne, Alison

Due dates

4-25: Annotated Bibliography (to me and your writing group, by email)

4-28 & 5-5: Proposal Presentations (in class)

5-12: Essay Sketch (to me and your writing group, by email)

5-16: Draft (to me and your writing group, by email)

5-19: Draft workshop

5-25: Revised Essay

First, I had a dream, about vampires. Some actor whose name I don’t know was “playing” the head vampire, and he was evil, though mild-mannered. My friend Cheri was playing a regular vampire, not evil. She was preparing for battle with him. To prepare, she confessed to a bunch of us that she was a vampire. We were shocked, of course, but we agreed to join in the battle. This involved sneaking into the attic full of antiques where the vampire lived, and working with the police to spike some food with a drug, hoping we could trick him into eating it. We did this inside a labyrinth of huge hedges, like the one in The Shining.

I don’t remember much else, but I remember subsequent “dreams” that were basically attempts to remember this dream. In these dreams, I was rehearsing details from the vampire dream and telling myself to remember them. In one of these, somebody told me the name of the actor was George Gerskind. As far as I can tell, there is no actor with this name, but I remember the person telling me this like it was a revelation. And I believed it, in the dream.

These “after-dreams” are new to me, and they do seem meta-cognitive. But the metacognition in them wasn’t accurate!

Jane Eyre’s Dreams: An Index

Direct References to Literal Dreams

14 (C3): The beginning of chapter three opens with Jane waking and thinking she had a nightmare.
[Ramos]

37 (C5):  During Jane’s first night at Lowood, “the night passed rapidly: I was too tired even to dream.” [Yu] Jane Eyre says that she is “too tired even to dream,” which implies that it is an action consciously chosen, or at very least, that it doesn’t happen when one is exhausted. [Chen]

63 (C9): Dreams, fantasy- Jane uses dreams to compensate for that which she cannot obtain in real life:
That night, on going to bed, I forgot to prepare in imagination the Barmecide supper of hot roast potatoes, or white bread and new milk, with which I was wont to amuse my inward cravings:  I feasted instead on the spectacle of ideal drawings, which I saw in the dark; all the work of my own hands:  freely pencilled houses and trees, picturesque rocks and ruins, Cuyp-like groups of cattle, sweet paintings of butterflies hovering over unblown roses, of birds picking at ripe cherries, of wren’s nests enclosing pearl-like eggs, wreathed about with young ivy sprays.  I examined, too, in thought, the possibility of my ever being able to translate currently a certain little French story which Madame Pierrot had that day shown me; nor was that problem solved to my satisfaction ere I fell sweetly asleep.  [Rice]

131 (C16): “It is hardly likely master would laugh, I should think, Miss, when he was in such danger: you must have been dreaming.
‘I was not dreaming,’ I said, with some warmth, for her brazen coolness provoked me.” [Simon]

176 (C20): “’A servant has had the nightmare;  that is all.  She’s an excitable, nervous person;  she construed her dream into an apparition, or something of that sort, no doubt;  and has taken a fit with fright….”  [Cheshire]

176 (C20): “…it was not a servant’s dream which had struck horror through the house….”   -[Cheshire]

188 (C21): “When I was a little girl, only six years old, I, one night, heard Bessie Leaven say to Martha Abbot that she had been dreaming about a little child; and that to dream of children was a sure sign of trouble, either to one’s self or one’s kin.  …Of late I had often recalled this saying and this incident;  for during the past week scarcely a night had gone  over my couch that had not brought with it a dream of an infant…. I did not like this iteration of one idea—this strange recurrence of one image;  and I grew nervous as bedtime approached, and the hour of the vision grew near.” [Cheshire]

198 (C21): “…and I dream sometimes that I see him laid out with a great wound in his throat, or a swollen and blackened face.” [Cheshire]

207 (C22): “I dreamt of Miss Ingram…me” [Conroy]

240 (C25): “‘No, no, sir, besides…real happiness.’” (Jane recounts her night’s dreams to Rochester.) [Conroy] Jane tells Mr. Rochester of a dream she had.  In the dream, Jane felt her “movements were fettered.” [Wargas]

241-3 (C25): “‘I dreamt another dream…without a word?’” (Jane recounts another “dream” to Rochester.) [Conroy] Jane also tells of another dream: “that Thornfield Hall was a dreary ruin.”  She describes the dream further. [Wargas]

244 (C25): “‘The night is…future day.’”  (Rochester predicts Jane will dream of “happiness and union” during the coming night.) [Conroy]

253 (C27):  “That I am not Edward Rochester’s…entirely, is intolerable”(literally a broken dream) [Oliver]

272 (C27): Jane dreams of her night in the red room at Gateshead. “That night I never thought to sleep….’Mother, I will’” (dream described in text) [Oliver; Moriarty]

312: (C32):  Jane literally dreams at night of being with Mr. Rochester (middle of second paragraph). [Bain] Jane has dreams about being in Rochester’s arms, “touching his hand and cheek, loving him, being loved by him.” At this period of my life, my heart far oftener swelled with thankfulness than sank with dejection: and yet, reader, to tell you all, in the midst of this calm, this useful existence–after a day passed in honourable exertion amongst my scholars, an evening spent in drawing or reading contentedly alone–I used to rush into strange dreams at night: dreams many-coloured, agitated, full of the ideal, the stirring, the stormy–dreams where, amidst unusual scenes, charged with adventure, with agitating risk and romantic chance, I still again and again met Mr. Rochester, always at some exciting crisis; and then the sense of being in his arms, hearing his voice, meeting his eye, touching his hand and cheek, loving him, being loved by him–the hope of passing a lifetime at his side, would be renewed, with all its first force and fire. Then I awoke. Then I recalled where I was, and how situated. Then I rose up on my curtainless bed, trembling and quivering; and then the still, dark night witnessed the convulsion of despair, and heard the burst of passion. By nine o’clock the next morning I was punctually opening the school; tranquil, settled, prepared for the steady duties of the day.” [Rose; Ali]

361-2 (C36): As Jane looks towards Thornfield Hall, she alludes to a dream that she had back in chapter 25.  In this dream, she has a vision of Thornfield Hall in ruins.  In chapter 36, it seems, her dream has almost come to life.  As she observes, Thornfield itself has “crashed in”, since it has “no roof, no battlements, [and] no chimneys.” [Hussain]

Daydreaming, Waking Dreams, Reverie
6 (C1): Lines beginning with “Of these death-white realms…” This is a moment where she is tucked away from the world (and her antagonistic superiors) and is allowed to let her imagination soar through reading. [Ramos]

11 (C2): Jane says she has to “stem a rapid rush of retrospective thought before [she] quailed to the dismal present.” This gives an indication she was daydreaming. [Ramos]

12 (C2):  Jane begins lines with “Unjust!—Unjust!” and stems totally away from the presents and rants and raves about how different she is, and how unfairly she is treated. Almost instantaneously she thrusts the reader back into the present with “Daylight began to forsake the red-room[…] but for instant we got into her daydreaming of her current condition. [Ramos]

31 (C4): After Jane has a confrontation with Mrs. Reed, she’s distracted and not able to concentrate on her book; “I could make no sense of the subject; my own thoughts swam always between me and the page I had usually found fascinating.” [Yu]

43-4 (C5): While Helen Burn’s is being punished, Jane notices that Helen seems to be daydreaming; “She looks as if she were thinking of something beyond her punishment – beyond her situation: of something not round her nor before her.  I have heard of day-dreams – is she in a day-dream now?” [Yu; Chen]

47-50 (C6):  There are many references to dreams and daydreams in this conversation between Jane and Helen:

a. Helen describes how her mind wanders during lessons; “Now, mine continually rove     away: when I should be listening to Miss Scatcherd…I fall into a sort of dream…This     afternoon, instead of dreaming of Deepden, I was wondering how a man who wished to do     right could act so unjustly and unwisely as Charles the First”

b. During their conversation, Jane notices that Helen is sometimes talking to herself; Helen     almost seems as if she’s in a hypnotic state:
“Helen was talking to herself now” (48)
“She wished no longer to talk to me, but rather to converse with her own thoughts.” (50)
“Helen sighed as her reverie fled” (50) [Yu]

48 (C6): Helen Burns falls into a sort of dream constantly. Sometimes she thinks she is in Northumberland and hears the speaking of those around her as the bubbling water of a brook. It is as if her dream is super-imposed over the reality, or perhaps that is what her “day-dreaming” entails. [Chen]

67 (C9): Jane contemplates oblivion:
I was noting these things and enjoying them as a child might, when it entered my mind as it had never done before:-
“‘How sad to be lying now on a sick bed, and to be in danger of dying!  This world is pleasant — it would be dreary to be called from it, and to have to go who knows where?’”
And then my mind made its first earnest effort to comprehend what had been infused into it concerning heaven and hell; and for the first time it recoiled, baffled; and for the first time glancing behind, on each side, and before it, it saw all round an unfathomed gulf:  it felt the one point where it stood — the present; all the rest was formless cloud and vacant depth; and it shuddered at the thought of tottering, and plunging amid that chaos. [Rice]

71-2 (C10): [...] more harmonious thoughts: what seemed better regulated feelings had become the inmates of my mind. [...] I walked about the chamber most of the time. I imagined myself only to be regretting my loss, and thinking how to repair it; but when my reflections were concluded, and I looked up and found that the afternoon was gone, and evening far advanced, another discovery dawned on me, namely, that in the interval I had undergone a transforming process; that my mind had put off all it had borrowed of Miss Temple–or rather that she had taken with her the serene atmosphere I had been breathing in her vicinity–and that now I was left in my natural element, and beginning to feel the stirring of old emotions. It did not seem as if a prop were withdrawn, but rather as if a motive were gone: it was not the power to be tranquil which had failed me, but the reason for tranquillity was no more. My world had for some years been in Lowood: my experience had been of its rules and systems; now I remembered that the real world was wide, and that a varied field of hopes and fears, of sensations and excitements, awaited those who had courage to go forth into its expanse, to seek real knowledge of life amidst its perils. (lines 31 and 42) [Hartfoulis, Rice]

72-73 (C10): Sleep deprivation, then immediately putting her head to the pillow and idea comes to Jane:

I was not free to resume the interrupted chain of my reflections till bedtime: even then a teacher who occupied the same room with me kept me from the subject to which I longed to recur, by a prolonged effusion of small talk. How I wished sleep would silence her. It seemed as if, could I but go back to the idea which had last entered my mind as I stood at the window, some inventive suggestion would rise for my relief.
Miss Gryce snored at last; she was a heavy Welshwoman, and till now her habitual nasal strains had never been regarded by me in any other light than as a nuisance; to-night I hailed the first deep notes with satisfaction; I was debarrassed of interruption; my half- effaced thought instantly revived.
“A new servitude! There is something in that,” I soliloquised (mentally, be it understood; I did not talk aloud), “I know there is, because it does not sound too sweet; it is not like such words as Liberty, Excitement, Enjoyment: delightful sounds truly; but no more than sounds for me; and so hollow and fleeting that it is mere waste of time to listen to them. But Servitude! That must be matter of fact. Any one may serve: I have served here eight years; now all I want is to serve elsewhere. Can I not get so much of my own will? Is not the thing feasible? Yes–yes–the end is not so difficult; if I had only a brain active enough to ferret out the means of attaining it.”
I sat up in bed by way of arousing this said brain: it was a chilly night; I covered my shoulders with a shawl, and then I proceeded TO THINK again with all my might.
“What do I want? A new place, in a new house, amongst new faces, under new circumstances: I want this because it is of no use wanting anything better. How do people do to get a new place? They apply to friends, I suppose: I have no friends. There are many others who have no friends, who must look about for themselves and be their own helpers; and what is their resource?”
I could not tell: nothing answered me; I then ordered my brain to find a response, and quickly. It worked and worked faster: I felt the pulses throb in my head and temples; but for nearly an hour it worked in chaos; and no result came of its efforts. Feverish with vain labour, I got up and took a turn in the room; undrew the curtain, noted a star or two, shivered with cold, and again crept to bed.
A kind fairy, in my absence, had surely dropped the required suggestion on my pillow; for as I lay down, it came quietly and naturally to my mind.–”Those who want situations advertise; you must advertise in the -shire Herald.”
“How? I know nothing about advertising.”
Replies rose smooth and prompt now:-
“You must enclose the advertisement and the money to pay for it under a cover directed to the editor of the Herald; you must put it, the first opportunity you have, into the post at Lowton; answers must be addressed to J.E., at the post-office there; you can go and inquire in about a week after you send your letter, if any are come, and act accordingly.”
This scheme I went over twice, thrice; it was then digested in my mind; I had it in a clear practical form: I felt satisfied, and fell asleep.
With earliest day, I was up [...]   (lines 38+) [Hartfoulis, Rice]

80 (C11): Jane is in a carriage on the second leg of her journey to Thornfield. Here she has “time to reflect.” She thinks about what her new residence and masters will be like. This may include or be equivalent to daydreaming? [Nuñez]

122 (C15):  Rochester’s ominous reverie.
“During the moment I was silent, Miss Eyre, I was arranging a point with my destiny. She stood there, by that beech-trunk—a hag like one of those who appeared to Macbeth on the heath of Forres.  ‘You like Thornfield?’ she said, lifting her finger; and then she wrote in the air a memento, which ran in lurid hieroglyphics all along the house-front, between the upper and lower row of windows.  ‘Like it if you can!  Like it if you dare!’” [Medina] “During the moment I was silent, Miss Eyre, I was arranging a point with my destiny. [...] ‘Like it if you can!’ ‘Like it if you dare!’ ” -Dream vision [Simon]

133-34 (C16): “[...] suggested the secret voice which talks to us in our hearts [...] I well remembered all- language, glance, and tone seemed at the moment vividly renewed.”
-Daydream; lost in thought. As a result of the daydreaming, Jane’s jealousy and paranoia seem to be making her physically sick. [Simon]

136-37 (C 16):  Jane Eyre’s internal reverie-like struggle between reason and imagination, personifying the opposing forces within her.
When once more alone, I reviewed the information I had got; looked into my heart, examined its thoughts and feelings, and endeavored to bring it back with a strict hand such as had been straying through imagination’s boundless and trackless waste, into the safe fold of common sense.
Arraigned at my own bar, Memory having given her evidence of the hopes, wishes, sentiments I had been cherishing since last night—of the general state of mind of which I had indulged for nearly a fortnight past; Reason having come forward and told in her own quiet way, a plain, unvarnished tale, showing how I had rejected the real, and rabidly devoured the ideal;—I pronounced judgment to this effect:—…(etc.) [Medina]

207 (C22):  Jane daydreams about her return to Thornfield. [Wargas]

220 (C24): “‘It can never be…a day-dream.” (Jane compares the idea of her marrying Rochester to a fairy-tale or day-dream.) [Conroy]

253 (C27):  “A wind fresh from Europe…degradation with secrecy, and leave her” (waking dream) [Oliver]
306-07 (C31): Yes; I feel now that I was right when I adhered to principle and law, and scorned and crushed the insane promptings of a frenzied moment. God directed me to a correct choice: I thank His providence for the guidance!
Having brought my eventide musings to this point, I rose, went to my door, and looked at the sunset of the harvest-day, and at the quiet fields before my cottage, which, with the school, was distant half a mile from the village. The birds were singing their last strains -
“The air was mild, the dew was balm.”
While I looked, I thought myself happy, and was surprised to find myself ere long weeping–and why? For the doom which had reft me from adhesion to my master: for him I was no more to see; for the desperate grief and fatal fury–consequences of my departure–which might now, perhaps, be dragging him from the path of right, too far to leave hope of ultimate restoration thither. At this thought, I turned my face aside from the lovely sky of eve and lonely vale of Morton–I say lonely, for in that bend of it visible to me there was no building apparent save the church and the parsonage, half-hid in trees, and, quite at the extremity, the roof of Vale Hall, where the rich Mr. Oliver and his daughter lived. I hid my eyes, and leant my head against the stone frame of my door; but soon a slight noise near the wicket which shut in my tiny garden from the meadow beyond it made me look up. A dog–old Carlo, Mr. Rivers’ pointer, as I saw in a moment–was pushing the gate with his nose, and St. John himself leant upon it with folded arms; his brow knit, his gaze, grave almost to displeasure, fixed on me. I asked him to come in.” [Ali]
318 (C32): “Don’t imagine such hard things. Fancy me yielding and melting, as I am doing: human love rising like a freshly opened fountain in my mind and overflowing with sweet inundation all the field I have so carefully and with such labour prepared–so assiduously sown with the seeds of good intentions, of self-denying plans. And now it is deluged with a nectarous flood–the young germs swamped–delicious poison cankering them: now I see myself stretched on an ottoman in the drawing-room at Vale Hall at my bride Rosamond Oliver’s feet: she is talking to me with her sweet voice–gazing down on me with those eyes your skilful hand has copied so well–smiling at me with these coral lips. She is mine–I am hers–this present life and passing world suffice to me. Hush! say nothing–my heart is full of delight–my senses are entranced–let the time I marked pass in peace.”
I humoured him: the watch ticked on: he breathed fast and low: I stood silent. Amidst this hush the quartet sped; he replaced the watch, laid the picture down, rose, and stood on the hearth.
“Now,” said he, “that little space was given to delirium and delusion. I rested my temples on the breast of temptation, and put my neck voluntarily under her yoke of flowers. I tasted her cup. The pillow was burning: there is an asp in the garland: the wine has a bitter taste: her promises are hollow–her offers false: I see and know all this.” [Ali]

Dreamlike States (Trance, Fancy, Imagination, Paranoia, etc.)

15 (C3): the top portion is loaded with imagery from a dream like state. She sounds very comfortable, believes someone is lifting her. In addition, immediately after the dreamlike occurrence, she says “in five minutes the cloud of bewilderment dissolved,” which proves she admits to not being full conscious. [Ramos]

23 (C4): Jane pretends a toy doll is real; “It puzzles me now to remember with what absurd sincerity I doated on this little toy, half fancying it alive and capable of sensation.” [Yu]

35 (C5): When Jane’s coach stops at an inn before reaching Lowood, she becomes a little paranoid and suspicious of kidnappers while she is in the waiting room; “Here I walked about for a long time, feeling very strange, and mortally apprehensive of some one coming in and kidnapping me; for I believed in kidnappers, their exploits having frequently figured in Bessie’s fireside chronicles.” [Yu]

50 (C6): Helen falls into a half dream-like state, what Jane calls her “reverie” where she reflects on her thoughts, but it can be disturbed just as sleep can be, so it is akin to a dream. [Chen]

50-51 (C7): Dreamless state- the walking dead moments of the beginning of the chapter (including this passage): “[...]  We set out cold, we arrived to church colder: during the morning service we became almost paralyzed  [...]” [Rice]

51 (C7): A frequent interlude of these performances was the enactment of the part of Eutychus by some half-dozen of little girls, who, overpowered with sleep, would fall down, if not out of the third loft, yet off the fourth form, and be taken up half dead. The remedy was, to thrust them forward into the centre of the schoolroom, and oblige them to stand there till the sermon was finished. Sometimes their feet failed them, and they sank together in a heap; they were then propped up with the monitors’ high stools. (line 27) [Hartfoulis] Girls passing out, reference to Eutychus (who “fell asleep while Paul was preaching and so fell to his death from the third balcony”:
The Sunday evening was spent in repeating, by heart, the Church Catechism, and the fifth, sixth, and seventh chapters of St. Matthew; and in listening to a long sermon, read by Miss Miller, whose irrepressible yawns attested her weariness.  A frequent interlude of these performances was the enactment of the part of Eutychus by some half-dozen of little girls, who, overpowered with sleep, would fall down, if not out of the third loft, yet off the fourth form, and be taken up half dead.  The remedy was, to thrust them forward into the centre of the schoolroom, and oblige them to stand there till the sermon was finished.  Sometimes their feet failed them, and they sank together in a heap; they were then propped up with the monitors’ high stools. [Rice]
57 (C7): Vision. In particular, one Helen Burns:
There was I, then, mounted aloft; I, who had said I could not bear the shame of standing on my natural feet in the middle of the room, was now exposed to general view on a pedestal of infamy.  What my sensations were no language can describe; but just as they all rose, stifling my breath and constricting my throat, a girl came up and passed me:  in passing, she lifted her eyes.  What a strange light inspired them!  What an extraordinary sensation that ray sent through me!  How the new feeling bore me up!  It was as if a martyr, a hero, had passed a slave or victim, and imparted strength in the transit.  I mastered the rising hysteria, lifted up my head, and took a firm stand on the stool.  Helen Burns asked some slight question about her work of Miss Smith, was chidden for the triviality of the inquiry, returned to her place, and smiled at me as she again went by.  What a smile!  I remember it now, and I know that it was the effluence of fine intellect, of true courage; it lit up her marked lineaments, her thin face, her sunken grey eye, like a reflection from the aspect of an angel.  Yet at that moment Helen Burns wore on her arm “the untidy badge;” scarcely an hour ago I had heard her condemned by Miss Scatcherd to a dinner of bread and water on the morrow because she had blotted an exercise in copying it out.  Such is the imperfect nature of man!  such spots are there on the disc of the clearest planet; and eyes like Miss Scatcherd’s can only see those minute defects, and are blind to the full brightness of the orb. [Rice]

59 (C8): Resting my head on Helen’s shoulder, I put my arms round her waist; she drew me to her, and we reposed in silence. We had not sat long thus, when another person came in. Some heavy clouds, swept from the sky by a rising wind, had left the moon bare; and her light, streaming in through a window near, shone full both on us and on the approaching figure, which we at once recognised as Miss Temple. (line 29) [Hartfoulis]

63 (C8): That night, on going to bed, I forgot to prepare in imagination the Barmecide supper of hot roast potatoes, or white bread and new milk, with which I was wont to amuse my inward cravings: I feasted instead on the spectacle of ideal drawings, which I saw in the dark; all the work of my own hands: freely pencilled houses and trees, picturesque rocks and ruins, Cuyp-like groups of cattle, sweet paintings of butterflies hovering over unblown roses, of birds picking at ripe cherries, of wren’s nests enclosing pearl-like eggs, wreathed about with young ivy sprays. I examined, too, in thought, the possibility of my ever being able to translate currently a certain little French story which Madame Pierrot had that day shown me; nor was that problem solved to my satisfaction ere I fell sweetly asleep. (line 22) [Hartfoulis]

68 (C9): [...]not having been able to fall asleep, and deeming, from the perfect silence of the dormitory, that my companions were all wrapt in profound repose [...] (line 6) [Hartfoulis]

70 (C9): I feel as if I could sleep: but don’t leave me, Jane; I like to have you near me.” [...] She kissed me, and I her, and we both soon slumbered.
When I awoke it was day: an unusual movement roused me; I looked up; I was in somebody’s arms; the nurse held me; she was carrying me through the passage back to the dormitory. [...] I was asleep, and Helen was — dead. (2, 9, and 17) [Hartfoulis]

74-5 (C10): Even when we finally retired for the night, the inevitable Miss Gryce was still my companion: we had only a short end of candle in our candlestick, and I dreaded lest she should talk till it was all burnt out; fortunately, however, the heavy supper she had eaten produced a soporific effect: she was already snoring before I had finished undressing. There still remained an inch of candle [...] Mrs. Fairfax! I saw her in a black gown and widow’s cap; frigid, perhaps, but not uncivil: a model of elderly English respectability. [...] a neat orderly spot, I was sure; [...] Here the socket of the candle dropped, and the wick went out. (lines 45, 20, 23, and 34) [Hartfoulis]

95 (C12): While sitting in the road Jane hears a noise in the distance which she can’t readily identify. At this point “fancies of the mind” come up,” those which originate from “memories of nursery stories.” She then remembers the story of “Gytrash” the “North-of-England spirit.” [Nuñez]

107-8 (C13): When Mr. Rochester to talking to Jane about her paintings he says she must have been in an “artist’s dreamland” when she painted them. [Deignan] Detailed descriptions of Jane’s paintings. Her subjects had “risen vividly on my mind,” like daydreams perhaps. She reports seeing them with “the spiritual eye.” Talk of the paintings continue on this page. Rochester states: “but I daresay you did exist in a kind of artist’s dreamland.” He also thinks that Jane’s paintings are dreamlike: “These eyes in the Evening Star you must have seen in a dream.”
[Nuñez]

121 (C15): “Bending over the balcony, I was about to murmur, “Mon Ange”- in a tone of course of course which should be audible to the ear alone- when a figure jumped from the carriage after her[...]- that was a hatted head which now passed under the arched port-cochere of the hotel.”
-Mr. Rochester’s recollections hear seem to comment on the euphoric, dream-like state that love puts him in. [Simon]

124 (C15):  “[...]-but there was something decidedly strange in the paroxysm of emotion which has suddenly seized him, when he was in the act of expressing the present contentment of his mood, and his newly-revised pleasure [...] -Trance/ Dream-like state [Simon]

126-128 (C15): the incident where Jane is suffering from insomnia and describes the experience of witnessing Bertha Mason set Rochester’s bed on fire. The whole description throughout these few pages is told as though it was a nightmare she couldn’t wake up from. Once Rochester was saved, he also exhibits fits of paranoid delirium. I do like how her insomnia coincided with this horrific event. [Simon]

127 (C15): Here, not really a dreamlike state of consciousness, but rather a dreamlike feeling and narration to a strange and mysterious real occurrence.
But it was not fated that I should sleep that night.  A dream had scarcely approached my ear, when it fled affrighted, scared by a marrow-freezing incident enough…“in the name of al the elves in Christendom, is that Jane Eyre?”  he demanded.  “What have you done with me, witch, sorceress?  Who is in the room besides you?  Have you plotted to drown me?” [Medina]

129 (C 15):  Jane Eyre’s sleepless reverie.
I regained my couch, but never thought of sleep.  Till morning dawned I was tossed on a buoyant but unquiet sea, where billows of trouble rolled under surges of joy.  I thought sometimes I saw beyond its wild waters a shore, sweet as the hills of Beulah; and now and then a freshening gale wakened by hope, bore my spirit triumphantly towards the bourne: but I could not reach it, even in fancy,–a counteracting breeze blew off land, and continually drove me back.  Sense would resist delirium: judgment would warn passion.  Too feverish to rest, I rose as soon as day dawned. [Medina; Simon]

168-9 (C19): “’I wonder what thoughts are busy in your heart during all the hours you sit in yonder room with the fine people flitting before you like shapes in a magic lantern;  just as little sympathetic communion passing between you and them, as if they were really mere shadows of human forms and not the actual substance.’
‘I feel tired often, sleepy sometimes;  but seldom sad.’”  [Cheshire]

170 (C19): “I said this rather to myself than to the gipsy;  whose strange talk, voice, manner had by this time wrapped me in a kind of dream.  One unexpected sentence came from her lips after another, till I got involved in a web of mystification;  and wondered what unseen spirit had been sitting for weeks by my heart watching its workings and taking record of its every pulse.”  [Cheshire]

172 (C19): “Where was I?  Did I wake or sleep?  Had I been dreaming?  Was I dreaming still?” [Cheshire]

219 (C24):  “As I rose and…promise.” (Jane wondering if Rochester’s affections happened in a dream) [Conroy]

225 (C24): “‘I feel so astonished…wife.’” (Mrs. Fairfax wonders if she’s been dreaming when Jane tells her of her impending marriage to Rochester.) [Conroy] Ms. Fairfax mentions dreaming during a conversation with Jane. [Wargas]

235 (C24): “I shut the closet…than they.” (Jane looks at her wedding dress and in a fevered state refers to it as “white dream.”) [Conroy] -The description of the wedding garments in Jane’s closet is eerie; Jane remarks, “I will leave you by yourself, white dream.” [Wargas]

244 (C26): “So I turned at the door…Mr. Rochester”  (dreamlike, reality vs. unreality) [Oliver]

253 (C26): second paragraph, following the attempted wedding, she describes it; “I seemed to have laid me down in the dried up bed of a river.” [Moriarty]

276 (C28):  paragraph 4.  Her rest disrupted by a sad heart. (Jane seems to be in a sort of paranoid delirium, or “torture of thought.” [Moriarity]

322 (C33): St. John stares dreamily into fire, right before he tells her he knows who she really is (fourth paragraph). [Bain]

298 (C30): The beauty of Moor House estate “wound round my faculties the same spell that entranced theirs.” [Rose]

299 (C30): St. John’s strange trances: “He would cease reading or writing, rest his chin on his hand, and deliver himself up to I know not what course of thought; but that it was perturbed and exciting might be seen in the frequent flash and changeful dilaton of his eye.” [Rose]
309 (C31): Though Mr. Rivers had started at the first of those musical accents, as if a thunderbolt had split a cloud over his head, he stood yet, at the close of the sentence, in the same attitude in which the speaker had surprised him–his arm resting on the gate, his face directed towards the west. He turned at last, with measured deliberation. A vision, as it seemed to me, had risen at his side. There appeared, within three feet of him, a form clad in pure white–a youthful, graceful form: full, yet fine in contour; and when, after bending to caress Carlo, it lifted up its head, and threw back a long veil, there bloomed under his glance a face of perfect beauty. Perfect beauty is a strong expression; but I do not retrace or qualify it: as sweet features as ever the temperate clime of Albion moulded; as pure hues of rose and lily as ever her humid gales and vapoury skies generated and screened, justified, in this instance, the term. No charm was wanting, no defect was perceptible; the young girl had regular and delicate lineaments; eyes shaped and coloured as we see them in lovely pictures, large, and dark, and full; the long and shadowy eyelash which encircles a fine eye with so soft a fascination; the pencilled brow which gives such clearness; the white smooth forehead, which adds such repose to the livelier beauties of tint and ray; the cheek oval, fresh, and smooth; the lips, fresh too, ruddy, healthy, sweetly formed; the even and gleaming teeth without flaw; the small dimpled chin; the ornament of rich, plenteous tresses–all advantages, in short, which, combined, realise the ideal of beauty, were fully hers. I wondered, as I looked at this fair creature: I admired her with my whole heart. Nature had surely formed her in a partial mood; and, forgetting her usual stinted step-mother dole of gifts, had endowed this, her darling, with a grand-dame’s bounty.”
“What did St. John Rivers think of this earthly angel? I naturally asked myself that question as I saw him turn to her and look at her; and, as naturally, I sought the answer to the inquiry in his countenance. He had already withdrawn his eye from the Peri, and was looking at a humble tuft of daisies which grew by the wicket.” [Ali]
359 (C36): At the beginning of this chapter, Jane Eyre remembers hearing a voice.  She says “I recalled the voice I had heard; again I questioned whence it came…I asked, was it a mere nervous impression- a delusion?” This voice, she says, seemed to “summon” her.  In some ways, it is as if Jane were daydreaming or dreaming (since Bronte is not very clear if Jane was sleeping or not) because she hears a voice, which she is not sure is real, and wonders if it is a delusion. In another instance, Eyre believes that this voice she has heard has given her a “wondrous shock of feeling”, and has awaken her soul “out of its sleep.”  It seems that this voice has traveled or even come from an unconscious and spiritual part of her, her soul.  [Hussain]

369 (C37): By chapter 37, Jane decides to pay a visit to her beloved Mr. Rochester in his new and secluded dwelling at a manor-house on a farm in Ferndean.  Jane surprises the blind Mr. Rochester by serving him his water, instead of the house servant, Mary.  After Mr. Rochester hears Jane’s voice a few times, he cannot believe that he is hearing her voice.  He thinks that he is delusional, and is hearing things.  He says “ ‘Great God!—what delusion has come over me?’ ” (482).  But when Rochester holds his beloved Jane Eyre, he believes that he is dreaming.  He says “It is a dream: such dreams as I have had at night when I have clasped her once more to my heart, as I do now…” (482).  Rochester’s wish-fulfillment type of dream has come true, as he actually does behold his Jane Eyre.  This vision of Jane is like a dream to him.  He doesn’t believe that she is truly in his presence.  However, she is actually there with him. [Hussain]

Visions and Other Intimations of the Supernatural

10 – 11 (C2):  Jane gives a detailed account of the red, and creates a vision for herself. Even though it may not be a “vision” in the most common sense in reference to dreams, she refers to the pillared bed as a “tabernacle,” and says the foot stool is a “pale throne.” This is important because she is envisions governmental and religious images, significant because both are sources of overriding authority, and she is the “prisoner.” [Ramos]

11 (bottom) (C2): a genuine vision occurs, where Jane starts, “all looked darker and colder.” Jane Eyre has a vision of a “strange little figure” “with [a] white face […] and arms specking with gloom” as she looks into the looking glass. Her the vision is a distortion of herself. She continues to call the image, with “glittering eyes” a fairy, phantom, and imp, which are all imaginative findings for looking at herself. [Ramos]

13 (C2): Jane sees a “dimly gleaming mirror,” she also sees a light on the wall which she reveals “glided up to the ceiling and quivered” above her. She affirms it can not be the moon, but images it is a lantern from a carrier outside on the lawn. Then, out of no where, she thinks that it is a “herald of some coming vision from another world.” [Ramos]

14 (C2): Jane says “I saw a light and thought a ghost would come.” [Ramos]

17 (C3):  It appears that Jane has an odd vision. She imagines seeing many diverse mediums from the book. Indeed, she sees changes, such as “gaunt goblins, and “fearful imps.” [Ramos]

60 (C8): reference to a Vision- Jane references the “red room” incident:
In the course of the tale I had mentioned Mr. Lloyd as having come to see me after the fit:  for I never forgot the, to me, frightful episode of the red-room:  in detailing which, my excitement was sure, in some degree, to break bounds; for nothing could soften in my recollection the spasm of agony which clutched my heart when Mrs. Reed spurned my wild supplication for pardon, and locked me a second time in the dark and haunted chamber. [Rice]

69 (C9): “You are sure, then, Helen, that there is such a place as heaven, and that our souls can get to it when we die?”
“I am sure there is a future state; I believe God is good; I can resign my immortal part to Him without any misgiving. God is my father; God is my friend: I love Him; I believe He loves me.”  (line 33) [Hartfoulis]

90-91 (C11):  Jane and Miss Fairfax are talking of ghosts and that there is no ghost at Thornfield and then Jane is startled by a “curious laugh” which she thinks is “preternatural” but it turns out to be grace Poole. [Deignan; Nuñez]

95 (C12): Just before Jane meets Mr. Rochester she hears a dog and his horse and thinks of the spirit called “Gytrash” – an apparition taking the shape of an animal – and then imagines the dog to be exactly like Gytrash. [Deignan]

96 (C12): Jane says the spell is broken because she sees the man on the horse and she knows that goblins do not take human form. [Deignan]

116 – 117 (C14):  Mr. Rochester is talking about angels and demons affecting him. He says the spirit that has guided him, even when he has done wrong, is an angel that he welcomes. He makes a little speech on Page 117 welcoming the spirit and Jane says “He said this as if he spoke to a vision, viewless to any eye but his own; then, folding his arms, which he had half extended, on his chest, he seemed to enclose in their embrace the invisible being.” [Deignan] Rochester refers to the “bonny wanderer.” The scene is described as Rochester seeing “a vision” and an “invisible being.” [Nuñez]

179 (C20): “According as the shifting obscurity and flickering gleam hovered here or glanced there, it was now the bearded physician, Luke, that bent his brow; now St. John’s long hair that waved, and anon the devilish face of Judas, that grew out of the panel, and seemed gathering life and threatening a revelation of the arch-traitor—of Satan himself—in his subordinate’s form.” [Cheshire]

187 (C21): “Presentiments are strange things! And so are sympathies; and so are signs:  and the three combined make one mystery to which humanity has not yet found the key.” [Cheshire]

228 (C24):  “‘In that field, Adèle…to live with him in that moon.” (Jane tells Adele about an encounter she had with a fairy.) [Conroy] Jane is sitting outside the gates of Thornfield when she has a strange encounter with  a “fairy” from “Elf-land.”  They converse. [Wargas]

319 (C32): St. John’s vision of himself as a missionary (second paragraph). [Bain]

342 (C34): When St. John asks Jane to go to India, she feels as if a “visionary messenger” has come to her (last paragraph). [Bain]

343 (C34): St. John gives his vision of a perfect missionary wife (second paragraph). [Bain]

357 (C34): Jane becomes overwhelmed by St. John’s religious argument, and feels that the “room was full of visions” (first paragraph). [Bain]

381-2 (C37): At the end of chapter 36, Rochester hears a voice in response to his emphatic “ ‘Jane! Jane! Jane!’ ” in which he believes Jane’s “soul wandered from its cell to comfort” his.  He hears a voice whisper to him “ ‘I am coming: wait for me’ ” and “Where are you?” .  He believes that at the same hour in which he calls out for Jane, she was “in unconscious sleep”, and that her soul wandered from its sleep to visit him.  Jane also recalls that she had a “mysterious summons” in which those were the words that she replied in response to his.  In this way, Rochester found it hard to believe that Jane was actually real because she had come as “a mere voice and vision” before.  [Hussain]

Dreamlike Metaphors, Symbols, Imagery, Allusions, Figures, Landscapes, Settings, and Objects

30 (C4): Jane feels liberated by her words, a sort of release. It is as if she has woken up from the horror of the dream that has been her life, by finally speaking truthfully to her aunt. [Chen]

32 (C4): The scene of Jane walking through the plantation is almost like a dream sequence. She is all alone, and everything is rather wintry and lifeless around her, until Bettie calls to her, and she comes to the realization that Bettie, if no one else, did care for her. [Chen]

64 (C8):  I discovered, too, that a great pleasure, an enjoyment which the horizon only bounded, lay all outside the high and spike-guarded walls of our garden: this pleasure consisted in prospect of noble summits girdling a great hill-hollow, rich in verdure and shadow; in a bright beck, full of dark stones and sparkling eddies. How different had this scene looked when I viewed it laid out beneath the iron sky of winter, stiffened in frost, shrouded with snow!– when mists as chill as death wandered to the impulse of east winds along those purple peaks, and rolled down “ing” and holm till they blended with the frozen fog of the beck! That beck itself was then a torrent, turbid and curbless: it tore asunder the wood, and sent a raving sound through the air, often thickened with wild rain or whirling sleet; and for the forest on its banks, THAT showed only ranks of skeletons. (line 14) [Hartfoulis]

88-89 (C11): Here are some descriptions of the manor’s rooms . These images, though not referenced in this context exactly, could be considered dream-like. For example, when talking about the drawing room, Jane mentions all the items which originate from foreign places such as Paros, Bohemia and the ancient city of Tyre. From the perspective of dreams, this room could be seen as a condensation of many different places and time periods. That is, if Freud’s theory can be applied in such a way. Also, the room is mentioned as having the aspect of “blending of fire and ice,” an illogicality reminiscent of those present in dreams. [Nuñez]

90 (C11): Thornfield is described as having “the aspect of a home of the past: a shrine of memory.” I may be extrapolating here but this seems dreamlike to me. The idea of a memory shrine could be like a dream as dreams are “places” where memories are brought up and perhaps dealt with, especially when thinking about recurring dreams. This reminds me of Hartman’s dreams after a traumatizing event; the dream “holds” the same memory though the elements surrounding it may change. [Nuñez]

99 (C12):  Rochester’s face becomes part of Jane’s “gallery of memory.” The idea of a place where memories are “kept” recurs again (first a shrine, now a gallery). This isn’t dream-like per se, though it reminds me of Jung’s idea of the collective unconscious. This does not relate to his theory exactly, but is resonant with the idea my professor put forth about how all the events of humanity’s history are inherent in the unconscious of each person. I have no substantial support or insight into this notion (no one responded to my post which discussed this idea) but I thought I’d put the idea out there anyway. [Nuñez]

104 (C13): Jane appears to Rochester “another world[ly].” Dreams are another worldly. 104: Jane appears to Rochester “another world[ly].” Dreams are another worldly. [Deignan, Nuñez]

121 (C15): “Floating on with closed eyes and muffled ears, you neither see the rocks bristling not far off in the bed of the flood,[...]-as I am now.”
-Dream-like metaphor [Simon] Rochester’s metaphoric account of love as an altered (and wild) state of mind/being.“You never felt jealousy, did you, Miss Eyre?  Of course not: I need not ask you; because you never felt love.  You have both sentiments yet to experience: your soul sleeps; the shock is yet to be given which shall waken it.  You think all existence lapses in as quiet a flow as that in which your youth has hitherto slid away.  Floating on with closed eyes and muffled ears, you neither see the rocks bristling not far off in the bed of the flood, nor hear the breakers boil at their base.  But I tell you—and mark my words—you will come someday to a craggy pass of the channel, where the whole of life’s stream will be broken up into a world of tumult, foam and noise: either you will be dashed to atoms on crag points, or lifted up and borne on by some master wave into a calmer current—as I am now.” [Medina]

122 (C15):  Rochester’s incarnation of jealousy as the snake.
“Well, to resume.  When I saw my charmer thus come in accompanied by a cavalier, I seemed to hear a hiss, and the green snake of jealousy, rising on undulating coils from the moonlit balcony, glided within my waistcoat and ate its way in two minutes to my heart’s core.” [Medina] “When I saw my charmer thus come in accompanied by a cavalier [...] and ate its way in two minutes to my heart’s core.” -Vivid dream metaphor [Simon]

123 (C15): “On recognising him, the fang of the snake, jealousy, was instantly broken; because at the same moment my love for Celine sank under an extinguisher.” (123)
-Image of snake could be reference to collective unconscious, even though she was before Jung’s time. [Simon]

155-7 (C18):  Rochester and his guests perform a series of vignettes which deal with the issue of marriage. The way in which these pieces are described in such great detail seem to be dream-like but they also reflect Freudian and Jungian concepts.The first is a wedding ceremony. Freud would perceive this as a reflection of Jane or Rochester’s wish fulfillment. The second vignette has biblical allusion which could be seen by Jung as use of the collective unconscious and use of archetypes. The third scene compares marriage to imprisonment. This expresses Rochester’s fears and apprehension to the concept of marriage. There is also a “mystery man” who is played by Rochester but Jane has trouble recognizing him. The man is an archetypal image in dreams while the entire scene hints at a deeper, dark side to his character. [Simon]

167-72 (C19): The dream-like quality of Jane’s exchange with Mr. Rochester dressed as a gypsy fortune telling woman in chapter nineteen. [Cheshire]

167 (C19) / 198 (C21): The two brief mentions of elves that contribute to the “elvish” imagery throughout the novel. [Cheshire]

196-98 (C21): Jane’s bedside appearance at Mrs. Reeds dying bed.  Jane appears to Mrs. Reed very much like a dream or a vision; she is both Jane and not-Jane. [Cheshire] Jane’s recollection of Aunt Reed’s face from her “last moments”: she described the face in a hideous and altered way, very reminiscent of the images we see in dreams. [Wargas]

207 (C22): Jane dreams “all the night” of Miss Ingram, at one point “closing the gates of Thornfield against me and pointing me out another road.” [JDT]

208 (C22): “And this is Jane Eyre?…be sworn!”  (Jane herself as “a dream or shade”)  [Conroy]

218 (C23): “And if I loved him less… a flow.” (parting with Rochester described as “nighmare”)  [Conroy]

220 (C24): Allusion to Mustardseed, a character from A Midsummer Night’s Dream [JDT]

221 (C24): “‘Puny and insignificant…ironical.’” (Jane tells Rochester he’s dreaming if he thinks her “delicate and aerial.”) [Conroy] Jane tells Mr. Rochester, “You are dreaming, sir” [Wargas]

231-3 (C24): Rochester sings to Jane’s accompaniment, the lyrics invoving a dream [Conroy] The words “dreamed” and “dream” appear in the lyrics of the song which Mr. Rochester sings, as Jane accompanies him on the piano. [Wargas]

235 (C24): “I shut the closet…than they.” (Jane looks at her wedding dress and in a fevered state refers to it as “white dream.”) [Conroy]

238 (C245):  Jane tells Rochester he is a “mere dream” [Wargas]

242 (C25):  Jane’s dream-like/nightmarish description of Bertha’s face. [Wargas]

245 (C26): “And now I can recall…sky beyond” (dreamlike imagery) [Oliver]

250 (C26):  “The maniac bellowed…those bloated features” (all physical descriptions of Bertha make her seem like nightmare figure) [Oliver]

252 (C26): “Jane Eyre, who had been…stark, chill, livid corpses that could never revive.” (dream imagery/use of dream-like metaphor) [Oliver]

253 (C26):  “My eyes were covered and closed: eddying darkness….I came into deep waters; the floods overflowed me”  (dreamlike metaphor) [Oliver]

263 (C27):  paragraph 5. Mr. Rochester discusses his conversation with “Hope.” [Moriarty]

264 (C27):  “When I think of the thing…my dove my blood curdles”  (Bertha as nightmare figure again) [Oliver]

266 (C27): “On a frosty winter afternoon…aided I was” (dreamlike imagery) [Oliver]

283-4 (C28):  “Listen, Diana…I like it!” (Biblical dream) [Oliver]

306 (C31):  Jane imagines a life of being Rochester’s mistress: “Meantime, let me ask myself one question–Which is better?–To have surrendered to temptation; listened to passion; made no painful effort–no struggle;–but to have sunk down in the silken snare; fallen asleep on the flowers covering it; wakened in a southern clime, amongst the luxuries of a pleasure villa: to have been now living in France, Mr. Rochester’s mistress; delirious with his love half my time–for he would–oh, yes, he would have loved me well for a while. He DID love me–no one will ever love me so again. I shall never more know the sweet homage given to beauty, youth, and grace–for never to any one else shall I seem to possess these charms. He was fond and proud of me–it is what no man besides will ever be.–But where am I wandering, and what am I saying, and above all, feeling? Whether is it better, I ask, to be a slave in a fool’s paradise at Marseilles–fevered with delusive bliss one hour- -suffocating with the bitterest tears of remorse and shame the next- -or to be a village-schoolmistress, free and honest, in a breezy mountain nook in the healthy heart of England?” [Rose; Ali]

309 (C31):  Jane, accompanied by an enthralled St. John, meets Rosamond Oliver: “A vision, as it seemed to me, had risen at his side.” [Rose]

318 (C32): Looking at Jane’s picture of Rosamond, St. John is entranced and fantasizes about a life with her. “I see myself stretched on an ottoman in the drawing-room at Vale Hall, at my bride Rosamond Oliver’s feet. . . my senses are entranced.” [Rose]

328 (C33): When Jane inherits money, she finally realizes her dream of having family (second paragraph from the bottom). [Bain]

377 (C37): Although it has nothing to do with dreams in this context, Jane alludes to Nebuchadnezzar when she tells Rochester that he looks disheveled.  Nebuchadnezzar, of course, reminded me of Jung’s analysis of his dream. (I think that this point is irrelevant, but somewhat interesting…) [Hussain]

All-Nighters: Failing to Fall – Opinionator Blog – NYTimes.com

http://opinionator.blogs.nytimes.com/201…

Exploring the elusive borderland between waking and sleep.