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Alhaj, Ali: The Depiction of Thwarted Love and Revenge in Emily Bronte's Wuthering
Heights, Hamburg, Anchor Academic Publishing 2015
PDF-eBook-ISBN: 978-3-95489-383-6
Druck/Herstellung: Anchor Academic Publishing, Hamburg, 2015
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Abstract
The present study aims at examining the depiction of thwarted love
and revenge in Emily Bronte's Wuthering Heights. The study is divided
into four chapters in addition to a conclusion.
Chapter One: casts light on Emily Bronte's achievement as of an
intrinsically different kind from that of any of her contemporizes .
Chapter Two: traces Emily Bronte's Contribution, Reputation and
Influence. Emily Bronte illustrates some aspects of human nature more
fully than the other Victorians. Also, she is the most poetical of all
English novelists. Chapter Three: explores Thwarted Love in Emily
Bronte's Wuthering Heights. Chapter Four : examines revenge in Emily
Bronte's Wuthering Heights.
Emily Bronte in her fascinating '' Wuthering Heights, she proves that
man is a creature who differs from all the other creatures. The main
difference lies in the extremeness of the feelings of love, hate and revenge
in every human being. In her metaphysics, love is the primary law of
human nature and paramount principle of her universe. Adhere to, it is at
once the source of joy and harmony; rejected or subverted, it becomes the
fountainhead of enmity and revenge.
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Chapter One
Introduction
The first fact to be realized about Emily Bronte, is that her
achievement is of an intrinsically different kind from that of any of her
contemporizes . Like that of Dickens, indeed, it is specially distinguished
by the power of its imagination . Emily stands outside the main current of
nineteenth century fiction as markedly as Blake stands outside of
eighteenth century poetry. According to Barker ( 1995:34)
Emily looked at the human life which was their common subject from a
different point of view. She stood outside her age as Blake stood outside his. It
is for the same reason. Like Blake, Emily Bronte is concerned solely with those
primary aspects of life which are unaffected by time and place.
Emily Bronte's great characters exist in virtue of the reality of their
attitude to the universe; they loom before us in the simple epic outline
which is all that we see of man revealed against the huge landscape of the
cosmic scheme. Emily did not see her world in relation to moral or social
concerns of the day. She was not irked by the restrictions placed on
women in society , and presumably viewed Branwell's - destructions as
the action of a free soul going its own way- as did Heathcliff and Hinley
and Cathy. She was able to see such events , she observed the reasons for
certain actions, but she was removed from the influence of everyday
lesson. Her comment on Branwell was that he was 'hopeless being', but
she does not seem to have felt any of the moral disgust for him that
Charlotte felt.
Emily Bronte's vision of life does away with the ordinary antithesis
between good and bad. To call some aspects of life good and some evil is
to accept some experiences and to reject others. But it is an essential trait
of Emily Bronte's attitude that it accepts all experience . Not that she is an
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optimist who believes that the pleasant parts of life are its only real
aspects. The storm is as much part of her universe as the calm. Indeed,
she is peculiarly aware of the storm : she makes out the harsh elements of
life to be as harsh as they can be. In this context we can quote
Barker(1bid:45):
Emily Bronte's characters set no bridle on their destructive passions ; nor
do they repent of their destructive deeds. But since these deeds and passions
do not spring from essentially destructive impulses, but impulses only
destructive because they are diverted from pursuing their natural course, they
are not bad. Further, their fierceness and ruthlessness have, when confined to
their true sphere, a necessary part to play in the cosmic scheme, and as such
are to be accepted. Emily Bronte's outlook is not immortal, but with those
conditioning forces of life on which the native erections of the human mind
that we call moral standards are built up
.
In consequence that conflict between right and wrong which is the
distinguishing feature in the Victorian view of life does not come into her
view. Human nature, to her, is not a mixture of good and bad elements, as
it to Thackeray. It cannot be grouped into the virtuous and the wicked, as
it is by Charlotte Bronte or Dickens. The conflict in her books is not
between right and wrong , but between like and unlike. According to
Wilson(1987: 240)
Substance, intensity, freshness- these then are the three elements that give
its individuality to Emily Bronte' imagination. They reveal themselves in
every aspect of her world.
This attitude is responsible for lifting the universe of Wuthering
Heights beyond the limitations of the contemporary moral world to a
wider belief in the basic qualities of human nature. Such matters as
education or lack of it, the role of woman in society and her relationship
with men , the social reaction to the effects of degradation, are not her
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concern, in certain instances, human nature scurvies in its virtues in spite
of degradation; on the other hand, a fierce passion can create unhappiness
for itself and others that strikes across the social and moral codes of
society , but brings misery which is spiritual; and again a weak nature
crossed by unhappiness, and without the stability effect of standards, can
ruin itself.
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