Two versions of Bildungsromane: Jane Eyre and David Copperfield

Holden will focus on the three-day meandering through New York City that leads up to his breakdown but, for all his protestations, he bears the mark of an affinity with his Dickensian ancestor in his very name.

This rare occurrence is worthy of mention because it is popularly taken to signify good luck. David is quite clear about the scope of his tale: What he gives us, instead, is something much more liable to resonate with his audience: While only a minority of readers will identify with Copperfield as a writer, all those enjoying his adventures self-evidently share his love of fiction.

Two versions of Bildungsromane: Jane Eyre and David Copperfield (E-Book, EPUB)

But enough about yours truly. Incidentally, the books in question — mostly 18th-century classics like Roderick Ransom , Tom Jones or Peregrine Pickle — tend to feature rogues and outcasts who are, in due course, successfully assimilated into society.

These picaresque stories were favourites of Dickens too, and a source of literary inspiration, especially in his early work. In books, David finds a source of emotional sustenance, and not just intellectual stimulation. With the help of its illustrations, this otherwise daunting reading material propels the young girl onto her own reveries.

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Unlike David Copperfield, for example, Jane does not exactly gain an easy admittance into society through the act of marriage. In fact, Jane's experience of social and physical isolation changes drastically throughout the novel and certainly accounts for one of the major shifts which takes place in Jane's overall character development.

Let us take Jane's isolation in the red room in chapter II and then juxtapose it with an account of her life at Ferndean at the end of the novel:. This room was chill, because it seldom had a fire; it was silent, because remote from the nursery and kitchens; solemn, because it was known to be seldom entered. My seat, to which Bessie and the bitter Miss Abbot had left me riveted, was a low ottoman near the marble chimney-piece; the bed rose before me; to my right hand there was a high, dark wardrobe, with subdued, broken reflections varying the gloss of its panels; to my left were the muffled windows; a great looking-glass between them repeated the vacant majesty of the bed and room.

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I was not quite sure whether they had locked the door; and, when I dared move, I got up, and went to see. Returning, I had to cross before the looking-glass; my fascinated glance involuntarily explored the depth it revealed.

Stefania Ciocia looks at 'David Copperfield, Dickens' 'favourite child'.

All looked colder and darker in that visionary hollow than in reality: Jane's descriptions of the red room speak of it as a sort of large royal tomb which is also parallel to a kind of alternate universe or hell of sorts. Everything about the room speaks to its deathlike qualities: This above kind of isolation, often paralleled with the fate of Bertha Mason who becomes the iconographic "woman in the attic," acts as an antithesis of Jane's sanctuary at Ferndean.

Rochester, who undergoes a symbolic moral purification in the fire at Thornfield and perhaps is even absolved for his sins when he gains back half of his sight at the end of the novel, can be aligned with the figure of Adam just as Jane asserts herself as a clear descendent of Eve when she states in chapter XXXVIII:.

I know what it is to live entirely for and with what I love best on earth. I hold myself supremely blest — blest beyond what language can express; because I am my husband's life as fully as he is mine.

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No woman was ever nearer to her mate than I am; ever more absolutely bone of his bone and flesh of his flesh.