本論文旨在探討珍瑞絲在《藻海》一書中，巧妙地藉由敘事結構及夢境安排，和柏朗蒂的《簡愛》進行一場跨越時空的精采對話。當大多數的讀者深深為簡愛的女性自主意識著迷時，珍瑞絲嘗試追溯閣樓裡瘋女人的前身，企圖從語言、性別、主體等議題中，呈現在女性瘋狂的背後，隱藏著何種不為人知的故事。換言之，珍瑞絲並非繼續「王子和公主結婚」之後的故事，而是描述在公主遇見王子之前，王子以何種父權劊子手或共謀身分出現，將元配推向瘋狂的國度。本文藉由故事的結構探討，檢驗敘事者與權力之間的關係；又，書中女主角所經歷的三個夢境，也會以象徵與符號研究試分析之。珍瑞絲將讀者的注意力拉向瘋狂源頭的審思，成功地展現「眾聲喧嘩」的一面：所有的故事，真相（或事實）的界定，端看觀察者的角度而定。真相的背後，也永遠有另一個真相。
This paper aims to discuss the dialogic interaction between Charlotte Brone's Jane Eyre and Jean Rhy' Wide Sargasso Sea through analyzing the relationships among language, gender, and subjectivity. As most Bronte's feminist readers have been attracted to Jane's individuality and self-reliance, Rhys intends to liberate the mad woman in the Thornfield attic in her intertextual novel published in mid twentieth century. Both the narrative strategy and dream devices in Wide Sargasso Sea provide clues for readers to piece together the story before Jane's entrance to the Hall. As Bertha, the mad woman, is deprived of the right of utterance, Rhys demonstrates the painful process through which Antoinette fights for a speaking self. While Bronte's novel confirms female subjectivity with Jane's brevity and capability, Rhys' goes deeper into the traumatic experiences Bertha/ Antoinette suffers from patriarchal dichotomy. This paper therefore seeks to investigate, by the discussion of narrative structure and dream texts, how the patriarchal double-standard thrusts a marginalized female into the realm of madness, and how important it is to listen to the other side of the story.
