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Analysis of Bronte s Wuthering heights
Revenge as a theme in Literature
Analysis of Bronte s Wuthering heights
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Emily Bronte’s Wuthering Heights employs one of the most powerful forces to drive its plot forward: the need for revenge. This is a force like no other because it thrives on negative emotions such as suffering, loss, and anger, especially from the pain of rejection in the novel. Not only is it influential, but also prevalent. Bronte depicts that the need for revenge is hidden in many characters, suppressed by love, until a single event unleashes its fury, corrupting characters and causing them to aggravate their misdoings, with one disaster following a first. Revenge, like abuse, is a repeating cycle; a sufferer becomes the inflicter of suffering on others so that everybody feels the pain, and only the power of love can overcome this …show more content…
After Heathcliff gets revenge by bankrupting Hindley for mistreating him (which was Hindley’s revenge for Heathcliff having become his father’s favorite), Hindley’s desire for revenge multiplies. At first he simply wanted to separate Heathcliff from Cathy, but now he tells Isabella, “I will have [my house] back; and I’ll have his gold too; and then his blood; and hell shall have his soul! It will be ten times blacker with that guest than ever it was before!” (124). Hindley’s desire for revenge has become murderous and intensely cruel, to the point of wishing Heathcliff’s soul to be in Hell. Heathcliff, originally abused by Hindley, has become the abuser and appears to grow more greedy for revenge as the plot develops. When he explains to Catherine, “ You are welcome to torture me to death for your amusement, only allow me to amuse myself a little in the same style” (100), he is showing her that she can torture him as much as she wants, but he will pass all of this pain onto someone else. The remedy to his pain is to become the inflictor of pain. Compounding his emergence as the abuser, later in the novel Heathcliff develops an interest in tormenting Hindley’s son, Hareton. He wants to “see if one tree won’t grow as crooked as another, with the same wind to twist it!” (165), meaning that that he was blown by the wind and became twisted by Hindley, now he will return the favor to Hareton, denying Hareton an …show more content…
It just takes one person to start a cycle of repeated hatred and suffering, but also only one person to break this chain and bring happiness into the world. The relationships at Wuthering Heights are based on envy and revenge and only bring pain. This is ironic as the perpetrator of abuse believes it will bring them relief from their pain. But Bronte points out the futility of carrying out revenge since even when fulfilled, it does not serve its purpose of relieving pain or restoring love. That can only be achieved when people stay true to the path of love and are tenacious enough to overcome their
In his renowned book of philosophy, The Leviathan, Hobbes described that “perpetual and restless desire for power” is a fundamental quality shared by all humans. He also points out that desire is another important aspect of human nature, since it provides motivation for us to strive to reach our individual needs regardless of the possible outcomes of our actions. These two themes are insightfully explored in Susan Jaret McKinstry’s “Desire’s Dreams: Power and Passion in Wuthering Heights”, in which she shows the important role that power and desire play in Emily Brontë’s Wuthering Heights. From the desire, passion and the ambition for power being displayed in a relatively closed environment such as the isolated manors, it is clear that Brontë’s view of human nature is that humans will do whatever is necessary in their contest for individual power and fulfillment of desires.
With so many distortions, many readers may not appreciate Brontë's book. She takes common elements and greatly exaggerates them. She turns love into obsessive passion, contempt into lifelong vindictive hatred, and peaceful death into the equivalent of burning in hell. In doing so, she not only loaded the book with emotions, but vividly illustrated the outcome if one were to possess these emotions.
Hindley’s obstructive actions, imposed on Heathcliff’s life, expand an internal anger that arouses as Heathcliff’s time at Wuthering Heights draws to a close. The negligent and condemnatory conditions advanced by Hindley transform Heathcliff’s futuristic outcome and supply him with motives to carry out vengeance on multiple personalities involved in the plot. Heathcliff’s troubled social environment renders it difficult to determine the ethical legitimacy behind his decisions, contributing to the moral ambiguity of his
. The reader sees an extraordinary inwardness in Emily Bronte’s book Wuthering Heights. Emily has a gloomy and isolated childhood. . Says Charlotte Bronte, “ my sister’s disposition was not naturally gregarious; circumstances favored and fostered her tendency to seclusion; except to go to church, or to take a walk on the hills, she rarely crossed the threshold of home.”(Everit,24) That inwardness, that remarkable sense of the privacy of human experience, is clearly the essential vision of Wuthering Heights. Emily Bronte saw the principal human conflict as one between the individual and the dark, questioning universe, a universe symbolized, in her novel, both by man’s threatening and hardly-to-be-controlled inner nature, and by nature in its more impersonal sense, the wild lonesome mystery of the moors. The love of Heathcliff and Catherine, in its purest form, expresses itself absolutely in its own terms. These terms may seem to a typical mind, violent, and even disgusting. But having been generated by that particular love, they are the proper expressions of it. The passionately private relationship of Heathcliff and Catherine makes no reference to any social convention or situation. Only when Cathy begins to be attracted to the well-mannered ways of Thrushcross Grange, she is led, through them, to abandon her true nature.
Heathcliff is a character who was abused in his childhood by Catherine’s brother, Hindley, because of his heritage as a “gypsy”, and Hindley was jealous of the love that Heathcliff got from Mr. Earnshaw, Hindley’s father. This is also selfishness upon Hindley’s part since he only wanted his father’s love for his sister and himself. So to reprimand Heathcl...
In the gothic novel Wuthering Heights by Emily Bronte, the author hides motifs within the story.The novel contains two major love stories;The wild love of Catherine, and Heathcliff juxtaposing the serene love of Cathy,and Hareton. Catherine’s and Heathcliff's love is the center of Emily Bronte’s novel ,which readers still to this day seem to remember.The characters passion, and obsession for each other seems to not have been enough ,since their love didn't get to thrive. Hareton and Cathy’s love is what got to develop. Hareton’s and Cathy’s love got to workout ,because both characters contained a characteristic that both characters from the first generation lacked: The ability to change .Bronte employs literary devices such as antithesis of ideas, and the motif of repetition to reveal the destructiveness of wild love versus a domestic love.
The presentation of childhood is a theme that runs through two generations with the novel beginning to reveal the childhood of Catherine and Hindley Earnshaw, and with the arrival of the young Liverpudlian orphan, Heathcliff. In chapter four, Brontë presents Heathcliff’s bulling and abuse at the hands of Hindley as he grows increasingly jealous of Heathcliff for Mr. Earnshaw, his father, has favoured Heathcliff over his own son, “my arm, which is black to the shoulder” the pejorative modifier ‘black’ portrays dark and gothic associations but also shows the extent of the abuse that Heathcliff as a child suffered from his adopted brother. It is this abuse in childhood that shapes Heathcliff’s attitudes towards Hindley and his sadistic nature, as seen in chapter 17, “in rousing his rage a pitch above his malignity” there is hyperbole and melodrama as the cruelty that stemmed from his abuse in childhood has been passed onto Isabella in adulthood.
Does turmoil in people promote chaos in the world, or does chaos in the world create turmoil in people? To uncover a single answer to such a question is impossible. Therefore, those who seek a solution find themselves at a stalemate, and the query posed becomes rhetorical. Nevertheless, it initiates another inquiry worth thought and reflection: since the chaotic world is already well established, whether or not a product of human havoc, how is one to escape it and live uninhibitedly? Fences, by August Wilson, The Awakening, by Kate Chopin, and Wuthering Heights, by Emily Brontë embody people who struggle against the chaos in the world to be rid of personal turmoil. The characters in the novel took different approaches to find and free their innermost selves in the midst of societal disorder, and the ultimate resolution depended on each person's nature, strength, permissiveness, and courage. Troy Maxson in Fences employed blame and denial, The Awakening's Edna Pontellier, rebellion and acceptance, and Heathcliff and Catherine Earnshaw of Wuthering Heights applied passion, as tools to search for individual peace in an otherwise cluttered survival.
Love, betrayal and revenge play leading roles in both Shakespeare’s Hamlet and Emily Bronte’s “Wuthering Heights.” Both works feature doomed relationships, a ghostly haunting, and death. The court at Elsinore, despite its luxurious setting, almost mirrors the seclusion of the Yorkshire moors of Wuthering Heights — making both settings almost prison like. But, it is not setting that makes both works interesting: it is the search for vengeance by the protagonists. Few stories stir the soul more than that of a lover wronged – seeking vengeance on his foes. The lovers, Heathcliff and Hamlet, differ in their nature. One is a passionate brute, the latter a philosopher-prince; yet, despite their differences and being separated by 300 years, they share the same despair and grievances. Even their lives seem to run on almost parallel courses. Each loses a lover, is betrayed by a loved one, and driven almost mad with fury. Indeed, the “central, unifying action of Hamlet” (Abrahms and Brody 44), and of Wuthering Heights, is “revenge” (44). But, where Heathcliff’s sole impetus is revenge, Hamlet is reluctant to enact it. Hamlet’s circumstances, however, do indeed warrant vengeance.
Pain, misery and disappointment are all a significant part of this world’s concepts of both life and love. A prime example of this is displayed in Charlotte Bronte’s novel, Jane Eyre, where the protagonist, Jane, suffers through a particularly difficult life; her love is constantly stripped from her the moment she is relishing it most. With Bronte’s introduction of Bertha Rochester, Jane’s never-ending cycle of disappointment and loss of love.
(2) Emily Bronte’s purpose in writing Wuthering Heights is to depict unfulfilled love in a tragic romance novel and hence the theme of Wuthering Heights is love is pain. Emily Bronte reveals an important life lesson that love is not sufficient for happiness and if anything, stirs up more agony. This message is important because, although it is difficult to accept, the message is devastatingly honest. In Wuthering Heights, two characters named Heathcliff and Catherine loved each other immensely. However, their pride and adamance disabled them from making any progress on their romantic relationship. In fact, Heathcliff and Catherine purposely hurt each another through reckless and cruel actions. The author is exemplifying a recurring theme in history that love is associated with pain. The message allows readers to be aware that love is not constant perfection and happiness.
The famous saying that from a true love to a great hatred is only a
Heathcliff never finds peace through his revenge. In fact, the only time he truly finds happiness is when he gives up his plan for retaliation. Austin O’Malley states “Revenge is like biting a dog that bit you” (O’malley 1). O’Malley’s quote reflects Heathcliff’s immature need to propagate agony in those who have offended him. Heathcliff’s plan for revenge on Edgar and Catherine is to marry Isabella, who is ignorant of love and of men because she has never experienced either. He wants to hurt Edgar because of his marriage to Catherine, and he wants to get revenge on Catherine by making her jealous. Catherine’s death proves that this flawed plan of repayment helps nothing. Heathcliff, haunted by the ghost of Catherine because he is her “murderer,” still is motivated by the need for revenge and tries to get young Cathy away from Edgar by having her marry his son, Linton. Heathcliff never finds peace until he gives up his plan for revenge just before he dies. When Heathcliff gives up his plan for revenge, he meets Catherine in death and truly becomes happy once more.
“Wuthering Heights is a strange, inartistic story”(Atlas, WH p. 299). “Wuthering Heights is a strange sort of book” (Douglas, WH p.301). “This is a strange book” (Examiner, WH p.302). “His work [Wuthering Heights] is strangely original” (Britannia, WH p.305). These brief quotes show that early critics of Emily Bronte’s first edition of Wuthering Heights, found the novel baffling in its meaning - they each agreed separately, that no moral existed within the story therefore it was deemed to have no real literary value. The original critical reviews had very little in the way of praise for the unknown author or the novel. The critics begrudgingly acknowledged elements of Wuthering Heights that could be considered strengths – such as, “rugged power” and “unconscious strength” (Atlas, WH p.299), “purposeless power” (Douglas, WH p.301), “evidences of considerable power” (Examiner), “power and originality” (Britannia, WH p.305). Strange and Powerful are two recurring critical interpretations of the novel. The critics did not attempt to provide in depth analysis of the work, simply because they felt that the meaning or moral of the story was either entirely absent or seriously confused.
She uses the knowledge that she gathers from each character to control the situation at hand, gaining a unique power over her masters. Nelly makes a fatal error while exercising this power during Cathy’s illness when she elects to withhold crucial information from Edgar. Cathy’s death acts as a catalyst for two other tragic events; Heathcliff’s revilement of Isabella and the kidnapping of Cathy’s daughter. The careful reader of Brontë’s novel should hold Mrs. Dean accountable for Catherine’s death and the subsequent tragedies that directly result because Nelly instigates unnecessary conflict by deliberately using her position in the household to manipulate communication. In this exploration of Nelly’s accountability, her critical role in conflict creation reveals that the power of knowledge transcends the power of class in Wuthering