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The general picture of Sati and the reasoning that surrounded it filled with the Western imagination with repulsion as well as admiration. In the nineteenth century, Westerners publishing diaries of the travels always included their experiences when seeing Sati. Even though these travelers, typically men, watched with dread, they also admired the courage and the dignity of the girls included (Hawley 3). What was known in England of Sati was in the balances of the officials and travelers who observed it (Courtright 28). It wouldn't surprise one to presume that Charlotte Bronte, in her drive for her stand on women's freedom, could have obtained an interest in this kind of act; and she incorporates it in Jane Eyre. In 1829, the British government banned the action of Sati. Twenty decades later, Charlotte Bronte introduces a text where she presents the "topos of feminism in imperialism" (Perera 80). By means of the custom of Sati, Charlotte Bronte writes a novel which coveys the comparison between the east and the west, both the old and the new, revealed sexuality and repressed sexuality. The 2 characters, Jane and Bertha, each reflect a different region; while Bertha represents the East and the ancient, Jane reflects the new and the contemporary. Dorothy K. Stein finds that Sati was a motif used for feminist discussions in Victorian England: [Sati] didn't happen in England, but many manifestations of the attitudes and anxieties underlying the practice did. Nineteenth-century respectability in both England and India divided women into exalted and degraded courses, but not just on basis of real or imputed sexual behavior, but also on the grounds of whether that behavior was always controlled and supervised, pref...