So, Jane Eyre in lots of ways, borrows from fairytales and folktales, so in some ways,
So, Jane Eyre in lots of ways, borrows from fairytales and folktales, so in some ways,

Jane's story is like a Cinderella story - she's somebody who, she's low and she's despised
Jane's story is like a Cinderella story - she's somebody who, she's low and she's despised

and her richer relatives think nothing of her, but by the end of the story, she's married
and her richer relatives think nothing of her, but by the end of the story, she's married

the handsome prince and he's not quite as handsome as he was at the beginning of the
the handsome prince and he's not quite as handsome as he was at the beginning of the

book. But still, it's got all those elements in it, but at the same time, it's also got
book. But still, it's got all those elements in it, but at the same time, it's also got

another story which is the Bluebeard story, so Bluebeard is a man who keeps marrying a
another story which is the Bluebeard story, so Bluebeard is a man who keeps marrying a

procession of virgin brides and killing them and then the last one in the sequence opens
procession of virgin brides and killing them and then the last one in the sequence opens

the cupboard door and finds the bodies of the previous wives. And, of course, Jane Eyre
the cupboard door and finds the bodies of the previous wives. And, of course, Jane Eyre

finds a secret hidden away in the house too of the previous wife - while she's not dead,
finds a secret hidden away in the house too of the previous wife - while she's not dead,

but she's mad and deeply disturbing and distressing figure in the book. But you see the way that
but she's mad and deeply disturbing and distressing figure in the book. But you see the way that

she draws on those two stories, but then also brings them together with much more realistic
she draws on those two stories, but then also brings them together with much more realistic

elements, you know the lack of food, the quite realistic descriptions of the school that
elements, you know the lack of food, the quite realistic descriptions of the school that

she went to - they're all there in the early scenes and it's that brilliant bringing together
she went to - they're all there in the early scenes and it's that brilliant bringing together

of those two very different elements I think that so powers those novels and gives them
of those two very different elements I think that so powers those novels and gives them

this kind of both a deeply realistic sense, but also this mythical kind of power that
this kind of both a deeply realistic sense, but also this mythical kind of power that

enables them to speak to so many different places and times.
enables them to speak to so many different places and times.

I think what Gothic enables them to bring
I think what Gothic enables them to bring

to the novel, is a way of extending the emotional range and the kind of questions that it raises.
to the novel, is a way of extending the emotional range and the kind of questions that it raises.

So, theirs is a much more psychological Gothic in a way, so that it's a way of exploring
So, theirs is a much more psychological Gothic in a way, so that it's a way of exploring

strange states of mind, of not being sure of who you are, of uncanny moments and this
strange states of mind, of not being sure of who you are, of uncanny moments and this

is something called the New Gothic, which is this much more psychological kind, not
is something called the New Gothic, which is this much more psychological kind, not

in which the scary things are necessarily outside yourself, but somehow they're deep
in which the scary things are necessarily outside yourself, but somehow they're deep

within yourself. So, one of the most interesting of those Gothic uses is the way that there's
within yourself. So, one of the most interesting of those Gothic uses is the way that there's

a lot of insecurity about identity in Jane Eyre. So, if you think early on, you know,
a lot of insecurity about identity in Jane Eyre. So, if you think early on, you know,

when she's put in the red room, it becomes from being a quite naturalistic or realistic
when she's put in the red room, it becomes from being a quite naturalistic or realistic

kind of place, something much stranger and weirder than that - it's like death, it's
kind of place, something much stranger and weirder than that - it's like death, it's

like the deepest kind of fears in your unconscious mind somehow come to haunt Jane at that moment
like the deepest kind of fears in your unconscious mind somehow come to haunt Jane at that moment

and it is a novel with a lot of haunting in it. There's that moment when Jane seems to
and it is a novel with a lot of haunting in it. There's that moment when Jane seems to

communicate telepathically with Rochester and when she calls out to him, she cries out
communicate telepathically with Rochester and when she calls out to him, she cries out

to him, but also you see it in the characters too, so that there's a way in which although
to him, but also you see it in the characters too, so that there's a way in which although

Bertha Mason is in some ways the opposite of Jane, she's also uncannily and strangely
Bertha Mason is in some ways the opposite of Jane, she's also uncannily and strangely

linked to her as well and that, I think, is something that draws quite deeply on Gothic
linked to her as well and that, I think, is something that draws quite deeply on Gothic

tradition - the way that identity is never simple or stable or belongs uniquely to you
tradition - the way that identity is never simple or stable or belongs uniquely to you

and that constantly you might find doubles, or projections, or hauntings, or ghosts of
and that constantly you might find doubles, or projections, or hauntings, or ghosts of

yourself, popping up all over the place within the world. You remember the first time Jane
yourself, popping up all over the place within the world. You remember the first time Jane

Eyre meets Rochester - it's on a lonely road at night and he seems like a supernatural
Eyre meets Rochester - it's on a lonely road at night and he seems like a supernatural

presence. It's like a Gytrash - well Charlotte Brontë learned about the Gytrash here in
presence. It's like a Gytrash - well Charlotte Brontë learned about the Gytrash here in

this very house and so already at the first meeting of two realistic modern people, he's
this very house and so already at the first meeting of two realistic modern people, he's

already haunted by the possibility that there might be some supernatural force, something
already haunted by the possibility that there might be some supernatural force, something

beyond them, just at the edge of their consciousness.
beyond them, just at the edge of their consciousness.