The Double Characters in Wuthering Heights
In Bronte's novel, Wuthering Heights, a person has the capacity to attain happiness only if his external state of being is a true and accurate manifestation of his internal state of being. The "double character" which Catherine "adopts" in order to simultaneously maintain her relationship with the high brow Linton family and her low class friend, Heathcliff (66), is also manifested by most of the other main characters in the novel, though the split is usually less obvious in the other characters. It is less obvious because rather than being split between two contrasting external states (only one of Catherine's reflects her internal state), the characters are usually split between their internal experiences of the world and their external facades. For all of the characters, the possibility of happiness depends on a consistency between their internal and external ways of being. Catherine, in her inability to attain happiness, is the most clear example of this in the novel, but the novel's other three crucial characters: Heathcliff, Cathy (II), and Hareton, also demonstrate this.
Catherine and Heathcliff's relationship is a primary example of possible happiness disabled by the inconsistency (internal vs. external) of one of its participants, Catherine. Catherine holds up a façade of "ingenuous cordiality" to gain the love of the Linton children (Isabella and Edgar) to hide her true "unruly nature." She allows this "unruly nature" to come out only when she is in the privacy of her home, Wuthering Heights, with Heathcliff (66). Catherine splits herself into two personalities. She demonstrates her "unruly" one in the company of her true friend, Heathcl...
... middle of paper ...
...sing to always be together (in marriage).
Sources Cited and Consulted
Bronte, Emily. Wuthering Heights Oxford University Press, 1996.
Christ, Carol T. Foreword. Emily Brontë: Wuthering Heights: An Authoritative Text. Ed. William M. Sale, Jr., and Richard J. Dunn. Norton Anthology Edition. New York: Norton, 1993.
Dawson, Terence. Physical and Psychological Settings: The Polarized Houses in Emily Bronte's 'Wuthering Heights'. 7 Nov. 2000 .
McCarthy, Terence. "The Incompetent Narrator of Wuthering Heights" Modern Language Quarterly 42 (1981): 48-64.
Shunami, Gideon. "The Unreliable Narrator in Wuthering Heights." Nineteenth-Century Fiction 27 (1973): 449-68
Strobos, Semon. "Heathcliff and Nelly Dean in Wuthering Heights." The Nassau Review 6 (1993): 131-39.
Some critics have argued that Richard Wright’s women are “flat, one dimensional stereotypes, portrayed primarily in terms of their relationship to the male character”. (Quote, p540) However, in Uncle Tom’s Children, Wright resents three very distinct types of female characters who did not fit this description. Wright portrays women as an Avenger, a Sufferer and a Mother figure whose actions propel the stories to their final conclusion. In the story “Bright and Morning Star” Wright places the protagonist, Aunt Sue, in a domestic environment. “Her hands followed a lifelong ritual of toil” (pg222) as she cleans and cooks. Interestingly, Aunt Sue is the only heroine in the stories, who shows a different type of bravery than perhaps shown by the male figures in other stories. She is brave in the face of the loss of her two sons; she is brave as she does not show weakness to the white men who attempt to control her and make her do their bidding. She does not allow herself to be bound by the conventions of society. She speaks her mind to the white men who invade her home and states “Ah don’t care who Ahm talking t!” (pg238). Aunt Sue is portrayed as a cunning woman, who hides behind men’s perception of her as weak and uses it to her advantage. Her final act of bravery in the story is to giver herself up to death, before the white men can take her life from her. Wright also portrays women as sufferers in his work. Sarah, in “Long Black Song” suffers from isolation and is stuck in a loveless marriage. The gap between men and women is very much evident in this story. Sarah is very much dependent on Silas for company, security and items of comfort. Silas is allowed to exceed from the isolation imposed on his wife. Even when Sarah flees from ...
In the 19th Century, women had different roles and treated differently compared to today’s women in American society. In the past, men expected women to carry out the duties of a homemaker, which consisted of cleaning and cooking. In earlier years, men did not allow women to have opinions or carry on a job outside of the household. As today’s societies, women leave the house to carry on jobs that allow them to speak their minds and carry on roles that men carried out in earlier years. In the 19th Century, men stereotyped women to be insignificant, not think with their minds about issues outside of the kitchen or home. In the play Trifles, written by Susan Glaspell, the writer portrays how women in earlier years have no rights and men treat women like dirt. Trifles is based on real life events of a murder that Susan Glaspell covered during her work as a newspaper reporter in Des Moines and the play is based off of Susan Glaspell’s earlier writing, “A Jury of Her Peers”. The play is about a wife of a farmer that appears to be cold and filled with silence. After many years of the husband treating the wife terrible, the farmer’s wife snaps and murders her husband. In addition, the play portrays how men and women may stick together in same sex roles in certain situations. The men in the play are busy looking for evidence of proof to show Mrs. Wright murdered her husband. As for the women in the play, they stick together by hiding evidence to prove Mrs. Wright murdered her husband. Although men felt they were smarter than women in the earlier days, the play describes how women are expected of too much in their roles, which could cause a woman to emotionally snap, but leads to women banding together to prove that women can be...
Heathcliff's love for Catherine transcends the normal physical "true love" into spiritual love. He can withstand anything against him to be with her. After Hindley became the master of Wuthering Heights, he flogged Heathcliff like a slave. Although Heathcliff could have simply run away, his decision to endure the physical pains shows his unrelenting devotion to Catherine. Fortunately, Catherine feels as deeply for Heathcliff as he does for her, explaining to Nelly that "Whatever our souls are made of, his and mine are the same…" Their love for each other is so passionate that they can not possibly live apart. At Catherine's death, Heathcliff hopes that she will not rest, but will haunt him until he dies. This absurdity contradicts the traditional norm that one should pray that the dead rest in peace. Near the end of the novel, we learn that Catherine has haunted Heathcliff, allowing him only fleeting glances of her. This shows that despite their physical separation, nothing can part them spiritually. When Heathcliff dies and unites with Catherine once again, the neighbors see them haunt the moors. We finally see the power of their love; Not only does this love transcend physical barriers, it transcends time as well...
...in character of “Fences,” fights to be a father with nothing to go on but the harsh example set by his own father, which resembles a symbolic fence separating the relationship between father and son. There is also Troy's son, Cory, a boy becoming a man, coming of age under Troy's sovereignty. The play shows that no matter how old you are, you're constantly measuring yourself against the example set by your parents. Even if the reader’s family is nothing like the Maxsons, one may possibly connect with this basic human struggle.
In the novel Wuthering Heights, author Emily Brontë portrays the morally ambiguous character of Heathcliff through his neglected upbringing, cruel motives, and vengeful actions.
Emily Brontë’s novel Wuthering Heights, set in the countryside of England’s 1700’s, features a character named Heathcliff, who is brought into the Earnshaw family as a young boy and quickly falls into a passionate, blinding romance with the Earnshaw’s daughter, Catherine. However, Heathcliff is soon crushed by this affection when his beloved chooses the company of another man rather than his own. For the remainder of the novel he exudes a harsh, aversive attitude that remains perduring until his demise that is induced by the loss of his soulmate, and in turn the bereavement of the person to whom the entirety of his being and his very own self were bound.
Wilson does a creative job by using the fence metaphorically and literally. The fence was supposed to represent protection and family ties for the Maxson family. However, Troy’s past has left him with many scars. As he continues to make decisions for Rose and Cory, the layers of paint begin to strip away, revealing Troy’s failings to all, even to Death. After Troy’s failings become obvious to readers, the fences throughout the play begin to take form. The literal fence becomes a symbol that seals up the whole play. Readers see how if one continues to fence their loved ones out then eventually they will be left alone with their worse fear.
The theme of August Wilson’s play “Fences” is the coming of age in the life of a broken black man. Wilson wrote about the black experience in different decades and the struggle that many blacks faced, and that is seen in “Fences” because there are two different generations portrayed in Troy and Cory. Troy plays the part of the protagonist who has been disillusioned throughout his life by everyone he has been close to. He was forced to leave home at an early age because his father beat him so dramatically. Troy never learned how to treat people close to him and he never gave any one a chance to prove themselves because he was selfish. This makes Troy the antagonist in the story because he is not only hitting up against everyone in the play, but he is also hitting up against himself and ultimately making his life more complicated. The discrimination that Troy faced while playing baseball and the torment he endures as a child shape him into one of the most dynamic characters in literary history.The central conflict is the relationship between Troy and Cory. The two of them have conflicting views about Cory’s future and, as the play goes on, this rocky relationship crumbles because Troy will not let Cory play collegiate football. The relationship becomes even more destructive when Troy admits to his relationship with Alberta and he admits Gabriel to a mental institution by accident. The complication begins in Troy’s youth, when his father beat him unconscious. At that moment, Troy leaves home and begins a troubled life on his own, and gaining a self-destructive outlook on life. “Fences” has many instances that can be considered the climax, but the one point in the story where the highest point of tension occurs, insight is gained and a situation is resolved is when Rose tells Troy that Alberta died having his baby, Raynell.
In the play, Fences written by August Wilson takes place in the 1940s in Pittsburg during the Civil Rights era. The main characters of the play Fences are: Troy Maxson, (Rose’s husband), Bono (Troy’s best friend), Rose (Troy’s wife), Lyons (Troy’s son from a previous marriage), Gabriel (Troy’s brother), and Cory (Troy and Rose’s son). The play opened out with Troy and Bono drinking and having their regular talks on a Friday in the yard of the Maxson’s household. As the play continues, we learn the different personalities o...
Catherine Earnshaw appears to be a woman who is free spirited. However, Catherine is also quite self-centered. She clearly states that her love for Edgar Linton does not match how much she loves Heathcliff. She is saying that she does love both, and she is unwilling to give one up for the other; she wants “Heathcliff for her friend”. Catherine admits that her love for Linton is “like the foliage in the woods”; however, her love for Heathcliff “resembles the eternal rocks beneath”. She loves Heathcliff and yet she gives him up and marries Linton instead, Catherine believes that if she marries Heathcliff it would degrade and humiliate her socially.
Troy was met with many hardships in his life that left him feeling like he needed to protect himself from the things that have hurt him and could hurt him. The fence that Rose told Troy to build symbolized the barrier that he puts up to protect himself from the things that have hurt him and could hurt him in the future. Troy uses the fence to symbolize the emotional separation and neglect he has towards his family; Rose and Cory in particular. The main reason why the fence took the whole play to complete is because Troy neglected it and spent his time with his mistress which symbolized his neglect towards his family. Cory brings this to attention when he tells Troy that he "don't never do nothing, but go down to Taylors'", which is obviously his mistress’s home (Henderson). This was Troy’s f...
“Catherine 's incompletely heard confession of her devotion to Heathcliff precipitates his exile, which hardens him into a machine organized for revenge. Although Heathcliff dominates the action of Wuthering Heights, and the imagination of its author and its other characters, Catherine more clearly exemplifies what the two of them stand for.” (Spacks 1)
Throughout the play the reader sees how 'fences' are used to protect the characters mentioned. Early on, Rose protects herself by singing, 'Jesus, be a fence all around me every day. Jesus, I want you to protect me as I travel on my way' (Wilson 21). By Rose signing this song, one can see Rose's desire for protection. To Rose, a fence is a symbol of her love. Her longing for a fence signifies that Rose represents love and nurturing within a safe environment. However Troy and Cory think the fence is a burden and reluctantly work on finishing Rose's project. Bono indicates to Troy that Rose wants the fence built to protect her loved ones as he says, 'Some people build fences to keep people out' and other people build fences to keep people in. Rose wants to hold on to you all. She loves you? (61). While reminiscing about the 'project', Bono asks Troy why he 'got to go and get some hard wood' (60) as he says, "Nigger, why you got to go and get some hard wood? You ain't doing nothing but building a little old fence. Get you some soft pine wood. That's all you need" (60). Troy choosing to use hard wood instead of soft pine wood shows the reader that Troy wants hard wood to protect him harder from Death and all of his problems. Although each character in the play interprets the concept of a fence differently, they all see it as some form of protection.
(4) Wuthering Heights’s mood is melancholy and tumultuous. As a result, the book gives off a feeling of sorrow and chaos. For example, Catherine’s marriage with Edgar Linton made Heathcliff jealous and angry. In retaliation, Heathcliff married Edgar’s sister, Isabella, to provoke Catherine and Edgar. Heathcliff and Isabella’s marriage ignited a chaotic uproar with Edgar and Catherine because Linton disapproved of Heathcliff’s character, and Catherine loved Heathcliff in spite of being married to Edgar. Inside, Catherine wanted to selfishly keep Heathcliff to herself. Their relationships all had tragic endings because Catherine died giving birth to Edgar’s child. Isabella also died, leaving behind her young son. Heathcliff and Edgar resented each other because of misery they experienced together. The transition of the mood in the story is from chaotic to somber.
Brontë, Emily. Wuthering Heights. N.p.: Project Gutenberg, 2007. Print. Transcribed from the 1910 John Murray edition by David Price