Bhiksu University of Sri Lanka Anuradhapura External Degree Program English Literature E/ENGL 2024

London by William Blake

I wander thro’ each charter’d street,
Near where the charter’d Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.

In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear

How the Chimney-sweepers cry
Every blackning Church appalls,
And the hapless Soldiers sigh
Runs in blood down Palace walls

But most thro’ midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse

Popularity of “London”: William Blake, a famous English poet and painter, wrote ‘London’. It is a narrative poem about the sufferings during the industrialization. It was first published in 1974 in his volume, Songs of Experience. The poem speaks about the speaker’s journey through the streets of London, portraying the negative aspects of that city. Its also deals with child labor and slavery.

“London” As a Representative of Sorrow: The poem reflects upon the poet’s experiences during his life in London. He narrates what he sees and hears while wandering in the streets of London. The poem begins when the speaker is walking along the Thames River. As he travels along, he encounters many weary and mournful faces. He continues observing and hears crying and sounds of suffering because people are forced to work in horrid condition. Also, he expresses resentment on how poverty and sickness have doomed everything around him. He continues to describe the miserable cries of chimney sweepers, darkening churches and the soldiers who died because of war. At midnight, he hears the prostitute cursing his baby’s cry. This curse would surely affect the innocence and purity of that tiny soul. Thus, London forces people to live a life of misery.

Major Themes in “London”: Effects of industrialization, poverty, materialism and child labor are the major themes of this poem. The poet expresses the darker aspects of London. He discusses how the city is plagued with sickness, poverty and moral corruption. People are not getting legitimate treatment with resultant agony and distress. Death is also one of the prominent themes of this poem. He comments on how the church walls are covered with blood due to wars. Hence, he also tells how the upper class tormented the working people, including children.

Analysis of Literary Devices Used in “London”

Literary devices are tools used by writers to convey their emotions, ideas, and themes to make texts more appealing to the reader. William Blake has employed some literary devices in this poem to picture the image of London in the early 18^th century. The analysis of some of the literary devices used in this poem is given below.

1. Assonance: Assonance is the repetition of vowel sounds in the same line. For example, the sound of /e/ in “In every voice: in every ban”.
2. Consonance: Consonance is the repetition of consonant sounds in the same line. For example, the sound of /s/ in “Marks of weakness, marks of woe”.
3. Alliteration: Alliteration is the repetition of consonant sounds in the same line in quick succession. For example, the sound of /s/ in “And the hapless Soldiers sigh”.
4. Enjambment: It is defined as a thought in verse that does not come to an end at a line break; rather, it rolls over to the next line. For example,

“But most thro’ midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse.”

5. Imagery: Imagery is used to make readers perceive things involving their five senses. For example, “I wander thro’ each charter’d street”, “How the Chimney-sweepers cry” and “Runs in blood down Palace walls.”
6. Symbolism: Symbolism means to use symbols to signify ideas and qualities, giving them symbolic meanings that are different from the literal meanings. Here, “soldier’s sigh” symbolizes the state of frustration, “chimney sweeper” is the symbol of death, darkness and destruction and “harlot’s curse” symbolizes the prostitute’s pathetic life experiences.
7. Metaphor: It is a figure of speech in which an implied comparison is made between the objects different in nature. For example, “The mind-forg’d manacles I hear” is a metaphor for the hardships of the people working in industries, which is equal to working in prison.
8. Anaphora: It refers to the repetition of a word or expression in the first part of some verses. The below lines express the sorrow of the citizens suppressed under the upper class.

“In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban.”

Analysis of Poetic Devices Used in “London”

Poetic and literary devices are the same, but a few are used only in poetry. Here is the analysis of some of the poetic devices used in this poem.

1. Stanza: A stanza is a poetic form of some lines. There are four stanzas in this poem, with each having four lines in it.
2. Quatrain: A quatrain is a four-lined stanza borrowed from Persian poetry. Here, each stanza is quatrain as the first one.
3. Rhyme Scheme: The poem follows the ABAB rhyme scheme and this pattern continuous till the end.
4. End Rhyme: End rhyme is used to make the stanza melodious. For example, “cry/sigh”, “hear/tear” and “flow/woe.”

The lines stated below are suitable for explaining the life of people leading a life of extreme misery and longing for liberation from oppression.

“In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg’d manacles I hear.”

 The Sick Rose

O rose, thou art sick!

The invisible worm,

That flies in the night,

In the howling storm,

Has found out thy bed

Of crimson joy,

And his dark secret love

Does thy life destroy

 

In this small poem, 'The Sick Rose' we see Blake's ingenuity and artistic supremacy. In a few deft strokes Blake carves out a crimson rose attacked by a canker worm. The invisible worm is one that flies in night and 'howling storm'. The worm is engaged in a gradual seduction of the rose. It is destructive to the life of the rose.

Sexual Implications:

      The idea expressed by Blake has also been interpreted as having sexual implications. Its subject is copulation. Based on Freudian analysis the rose can be considered as the female and the worm as male. These symbols, or the idea behind them, stirs suppressed feelings of indecency and severe censure, guilt and intimidation. These feelings of inhibition are actually associated with sexual experience especially in the adolescent mind. The libidinal instincts in the adolescent mind are frequently repelled and suppressed due to social prohibition and superstition. The worm, to suit this idea, is aptly described as 'invisible' and it 'flies in the night'. The worm is alive and active at night; and this referance to night hints at the secrecy of the thing as well as its destructive impact. This propitious time that is the night, shows that he comes like a vicious creature vilify and spread inflection into the object he chooses. 'The worm prefers to fly not merely at night but also when the storm blows and there is commotion in the air But all the greater is its power and vigour since it can even withstand the stormy atmosphere. If the worm excels in strength the rose is luxurious. Its cushy netals of joy welcome the strength of the worm though it turns sick later. Alongwith the other aspects we have to stress these positive aspects too.      Though the two poems 'The Blossom' and 'The Sick Rose' come in the sections of 'Innocence' and 'Experience' respectively they can be taken as two characteristic specimens for comparison and contrast. In both poems the subject matter is sexual intercourse, and what is more they are symbolic too. But in 'The Sick Rose', we sense, quite vividly, a reserved and artificially disciplined approach towards the subject of sex. On the other hand 'The Blossom' has a frank, tender and an unorthodox view towards the very topic, but often we may doubt that The Blossom treats sex too trivially and attributes to it an unnecessary and too great an amount of purity. Instead of the tilting blossom of 'The Blossom' here we have a storm, a terrifying and raging wind: but it is all the more thrilling and thriving. Admittedly, the 'Rose' is Sick', yet not devoid of its natural floral 'bed of crimson joy'. The 'Rose' is relatively 'earthly', rather than heavenly which the 'Blossom' is. The final contrast we come across is that in 'The Sick Rose' the poet explores the dark recesses of the being and comes up with gems of beautiful perception.

Symbolism:

      The complex and vague erotic ideas are skilfully transformed into a poem by the poet. The poem helps us visualise a cankered rose plant in a stormy night. But there is more than what meets our eye. The Rose is sick of selfishness. Its innocence suffers slow death and ruin from, the worm or experience. The poet's flight of imagination materialises as the poem stretches into still greater dimensions of meaning and implication. In the words of Mr. Wolf Mankowitz, the kernel of the poem is explicit: "The priests of the Chapel who bind joy and desire with briars are like Night and its attributes in the first two poems. They are black against the light of joy and desire and their darkness is not only their own, but their Chapels and the society in which the institutional 'Thou shalt nots' are given rein". These 'Thou shalt nots' are the social taboos pronouncing 'don'ts' as Bertrand Russell says in his essay 'Happy Man.

      "The joy and desire which are thwarted here, are attacked by a worm in the 'Sick Rose' poem. Here it is immediately apparent that the rose which sickens is a mortal rose. The human rose is attacked by a worm which possesses a 'dark secret called Love', and it is an evil power which destroys the life of the rose. The flower is attacked in its 'bed of crimson joy' and this last imageric phrase can only stand for the sexuality of the mortal rose. The argument of the 'Sick Rose' differentiates between love and sexuality. Love here is destructive, it is a night-force, one of the links in the chain which binds delight in the Earth's Answer. But sexuality, the experience in the 'bed of crimson joy' is the very centre of the life of the rose. When it is attacked the flower sickens and dies. What then is the love which destroys it? Blake uses the word deliberately, and if we think of it as a counter in a commonly played game of communication we shall more clearly see his intention. He uses a personal expression to convey the experience of sexuality because it is something which he has discovered, as it were for himself. But if he has discovered it, it is in spite of love as it is commonly called. Blake is concerned in this short poem with an incredible area of experience. In it sexuality is revealed as the basis of life, the social concept of love, as something destructive to life. Love in its social definition is a negative creed of secretive joyless forbidding : love in Blake's experience is a vital malter of joy, open and sensuous. The insistence upon the need to keep sex open and honest and not 'a dirty sore' is incidentally, just one of the points at which Blake reminds one of D.H. Lawrence. The experience of the sick rose is one which both men recognised, deducing from it similar conclusion. 'The Sick Rose' poem is the concrete expression of Blake's experience of the corrupting effects of 'social' love upon 'creative' sexuality. This last sentence emerges as the gist of the meaning of the poem.

      'The Sick Rose' illustrates Blake's art of song as C.M. Bowra says. The brief poem illustrates in an astonishing way Blake's gift for distilling a complex imaginative idea into a few marvellously telling words. It conjures up the vision of a rose attacked in a stormy night by a destructive worm, and so Blake depicts it in his accompanying illustration. But as in all symbolical poems, we can read other meanings into it and make its images carry a weight of secondary associations. We may say that it refers to the destruction of love by selfishness, of innocence by experience, of spiritual life by spiritual death. All these meanings it can bear, and it is legitimate to make it do so. But the actual poem presents something which is common and fundamental to all these themes. something which Blake has distilled so finely from many particular cases that it has their common quintessential character. And this Blake sees with so piercing and so concentrated a vision that the poem has its own independent life. and needs nothing to supplement it. If we wish to know more about Blake's views on the issues at which the poem hints, we may find them in his prose works and prophetic books. But here he is a poet, and his thoughts are purified and transfigured in song.

Mysticism, Sexuality and Symbolism, but Simple

      Northrop Frye stresses a good deal on the directness and simplicity of the poem, 'The Sick Rose'. It is a piece at once mystic, symbolic and sexual. But Blake never dresses his thoughts as he does in his ironical outcries, in a set of questions, primarily because he is exceptionally conscious of the seriousness of the matter he deals with. The complex network of wordy and elaborated jargons of mysticism never acquire their place in the poem, He reaches the universal Truth (which lies no doubt, in exposing the false social noris) with the help of natural and at images of a rose and canker. Yet greater experience with literature soon shows that it is metaphor which is direct and primitive, and conceptual, thought which is sophisticated. Hence, there is a body of verse that can be called popular in the sense of providing the direct, primitive, metaphorical key to poetic experience for educated and uneducated alike. One may always meet a poem with a set of questions designed to avoid its impact; what does it mean; why is it considered a good poem; is it morally beneficial; does it say profound things about life, and so forth. But such a poem as 'The Sick Rose' has a peculiar power of brushing questions aside, of speaking with the unanswerable authority of poetry itself. Blake's lyrics with many of those of Herrick, Burns, and Donne, the sonnets of Shakespeare. Wordsworth's Lucy poems and a few of the great ballads, are popular poetry in the sense that they are a practically foolproof introduction of poetic experience.

Introduction to the Author William Blake

William Blake was an English poet. He was born in London, England, on 28th November 1757.  Blake was not only an English poet, but a visionary poet of all ages. He lived during Romantic age and his works depict the age of that time. His work could not get fame during his life but later on he turned out to be a visionary poet of all the ages. He was against race discrimination and wrote for the equal rights. He also raised child labor issues in his writings and other major issues of his age in his poetry.

 Introduction to A Poison Tree

A Poison Tree is a short poem and one of the most appreciated works of William Blake. Initially, this poem was published in his collection of Songs Of Experience in the year 1794. A Poison Tree is a descriptive poem that depicts human emotions and their consequences. This poem was published with the title A Poison Tree in 1830 in the London University Magazine. Although Christian Forbearance was its original title and later on it was changed to reflect better thoughts of the poet.

A Poison Tree is about the hatred and corrupted effects of anger towards others. In the poem, Blake shares his experiences with us that once he was angry with one of his friends and told him about the matter of annoyance. Consequently, the anger vanished away and both became friends again. In contrast, he tells that once he was angry over his enemy but he never told him about the matter, the anger kept growing in his mind against enemy and forced him to keep it hidden from his enemy. He symbolizes anger by a poison tree full of fruits which Blake’s enemy happens to steal and consequently dies.

Summary of  A Poison Tree

The poem, A poison tree in comprised on four stanzas. Here is stanza wise summary of A Poison tree for better understanding.

Summary of stanza 1

The poet says in first stanza that once he was angry with his one of the friends due to any reason and he told him clearly about it. By doing so, all his anger against his friend vanished away and again they became friends.

In second half of first stanza, poet narrates another experience that once he got angry with his one enemy and did not tell him about it. This time anger stared growing in poet’s mind.

In the first stanza, we come to know that how it is easy to reconcile with a friend if we clear doubts and misunderstandings. However, on the other hand, if we do not talk to someone when we are angry with him; anger and hate will keep growing in our mind against enemy.

Summary of stanza 2

In second stanza, poet elaborates his experience that he watered his anger every day and night in fears of disclosing it to his enemy. He also shed tears because of hate. Here poet wants to tell that he failed to give up his anger that causes him fear and tears. Wrath kept growing in poets mind by day and night because he feared to reveal it to enemy and in this way memory of ill-activity remained alive in his mind.

In the last two lines of second stanza, Blake says that he sunned his anger with smiles and soft deceitful wiles. Here poet symbolizes his anger as a tree which is as growing in his mind as tree grows in light of sun. In last line, poet says that the deceitful tricks (hiding anger) made the tree grow up in poet’s mind.

Summary of stanza 3

In third stanza, poet explains that the tree kept growing day and night and finally one day it became a full grown tree with a bright apple. “Bright Apple” depicts here something which attracts his enemy to eat it. However, deceitful tricks like deceit and hate made this bright apple fully grown and it is harmful for the enemy

Many critics compare this bright apple with the apple of the Heaven that was forbidden for Adam to eat as believed in Christian and Islamic Theology. Adam and Eve were attracted by Satan (Lucifer) to eat the forbidden apple but it caused a disaster in their lives and they were expelled from the Heaven. Here poet wants to tell that like Lucifer, he kept hidden his intentions and kept smile on his face that caused harm to his enemy.

Some critics refer this bright apple to some of written works of Blake which were stolen by one of his friends and caused shame for his friend latter on.

Summary of stanza 4

In last stanza poets tells about the consequences of that bright apple. Like Adam and Eve, the poet’s enemy stole the bright apple from the garden at night and ate it. Later on, in the morning, the poet is happy when he looks at his enemy lying dead under the tree. Here poet compare himself with Satan as Satan was also glad to see Adam and Eve being expelled from Heaven.

The message poet wants to covey is that anger and hatred make one like Satan and when he plans to take revenge for something bad done to him, one forgets the consequences. Morally, poet tells us that we should clear our misunderstanding until they become like a bright apple that can cause harm.

Analysis of A Poison Tree : Critical appreciation

The poem reveals the power of anger if not controlled at initial stage. Anger is an aggressive and dangerous emotion that we all possess as human beings. In the poem, Blake has stated clearly at the start that when we give up our anger, we can escape from drastic consequences of grown up anger. When poet forgives his friend, he saved himself as well his friend from the harm of the hatred.

When poet keep anger in his mind and it keeps growing by different ways elaborated in the poem cause deadly harm to the enemy of the poet. Instead of clearing doubts and grievances he remembered every little thing that he has wrongly done to put him down and harmed him dreadfully.

Blake clearly states that he intentionally did not forgive his enemy, even though he could. If first case, poet did so and saved his friend from the harm but he did not did so in case of enemy.

Poet tries to explain it by a Biblical reference that when Adam and Eve were forbidden to eat apple but Satan urged them to eat that apple that caused them to being expelled from the Heaven. In the same way, here poets states that if he did not save him his enemy, even though he could save. He did the same act as the Satan did in expelling them from the Heaven. Poet passed smile towards his enemy as Satan urged Adam and Eve politely by hiding internal enmity. And finally poet became glad when his enemy was stretched beneath the tree; he also followed Satan who became glad when Adam and Eve were expelled from the Heaven for eating forbidden apple.

The poem ‘A Poison Tree’ is one of the most striking explorations of the corrupting effects of wrath and hatred in English literature. Blake’s portrayal of anger, bitter, and wrath show the deep level of seriousness rampant in the poem. It is also one of William Blake’s miniature masterpieces.

Major Themes in the Poem

Major themes of the poem, A Poison Tree, are anger, hatred, and revenge. The poem explores the disastrous effects of unexpressed anger that causes to grow hatred. Blake as a visionary writer, dives deep into the darker side of human mind and tries to explain the harm that anger can do. He also explains in the start of the poem that it is quite easy to forgive someone before start of growing of hatred but when it starts to grow, its outcome is drastic.

Symbolism in the Poem

Symbolism is a literary device where something is used to signify ideas and qualities, giving them symbolic meanings different from literal meaning.

In this poem

·        Tree symbolizes wrath and anger or loss of patience.

·        Garden is the symbol of the heart where the hatred is natured.

·        Bright apple depicts vengeance.

Sources:

·         https://literarydevices.net/london/

·       https://www.englishliterature.info/2021/02/the-sick-rose-summary-and-                analysis.html

·     https://literaryenglish.com/summary-and-analysis-of-a-poison-tree-by-william-        blake/

Postgraduate Diploma in Education Rajarata University of Sri Lanka 2021

 Teaching Practice Group B 2021

·         Send the Lesson Plan early.

·        It should be very clear and in order.

·        Pay attention to the following.

a.   Approach

b.  Time Management

c.   Class Control

d.  Clarity

e.   Voice

f.    Use of Whiteboard or Blackboard

g.   Teaching Aids

h.  Teaching Methodology

i.    Rapport with the students

j.    Paying Attention to the students

k.  Using the time effectively

l.    Group work and pair work

m. Identifying the weak students

n.  Preparing Teaching Material

o.   Formation of groups

p.  Confidence

q.   Competence

r.    Stress-free environment

s.   Homework

t.    Individual attention

u. End of the lesson

Bhiksu University of Sri Lanka, Anuradhapura, External Degree Program English Literature E/ENGL 1024

Violence in Wuthering Heights

In ''Wuthering Heights'' by Emily Bronte, the characters that spend time at Wuthering Heights find themselves thinking and acting in increasingly violent ways. In this lesson, we will learn about some examples of violence in the story.

Violent Thoughts and Actions

Wuthering Heights by Emily Bronte is not only a dysfunctional love story, but lends itself to a great deal of violence that inevitably envelopes the guests and residents of Wuthering Heights. Even mild-mannered people like Lockwood and Isabella begin to have cruel and violent thoughts even after a short time in the Heights. In the beginning, the violence is directed at the one who is perceived as being the perpetrator who created bad feelings, but over time, the violence becomes more calculated and indirect. Let's look at some examples of violence from Wuthering Heights.

Lockwood's Dream

Lockwood, the man who is renting Thrushcross Grange, appears to be a meek and mild man, but when he goes to Wuthering Heights, his demeanor changes. He begins to take on the violent nature of his hosts. Violence is even apparent in his dreams. Lockwood's dream is religious in nature, but when Lockwood is accused of committing the unforgivable sin of being unforgiving, the congregation begins to turn on him. 'In the confluence of the multitude, several clubs crossed; blows, aimed at me, fell on other sconces.' As they attempt to beat him with their pilgrim staves, they end up hitting each other and the entire church disintegrates into chaos. The violence doesn't end there. Lockwood thinks he is awake, but enters a second nightmare in which the ghost of Catherine grabs his arm through the window. Out of fear, Lockwood rubs her wrists against the glass until they bleed.

The fact that Lockwood begins to think violent thoughts nearly as soon as he enters Wuthering Heights establishes the tumultuous and violent nature of that residence.

Hindley Flogs Heathcliff

It all started with sibling rivalry. After their father's death, Hindley takes over as the Master of Wuthering Heights and turns Heathcliff into a servant. For the most part, Hindley ignores Heathcliff, but when he gets into trouble, Hindley flogs him. When Edgar Linton comes to Wuthering Heights for dinner, Heathcliff is already upset because of the attention Catherine is giving him, so when Edgar mentions Heathcliff's hair, he reacts by throwing apple sauce at Edgar. 'He was in a bad temper, and now you've spoilt your visit; and he'll be flogged: I hate him to be flogged!' says Catherine to Edgar. After Heathcliff's flogging, Hindley tells Edgar that he should flog Heathcliff the next time that happens.

Heathcliff's upbringing from the time his father dies is in the hands of his cruel, jealous, drunk brother. Heathcliff learns to control others through violence by watching the way his brother treats him.

Heathcliff Abuses Isabella

After Edgar marries Catherine, Heathcliff swears vengeance on the entire Linton family. He goes so far as to marry Edgar's sister, just so he can abuse her. On their first night together at Wuthering Heights, Isabella realizes what she has gotten herself into when Heathcliff promises '…that I should be Edgar's proxy in suffering, till he could get hold of him.' When Isabella finally has enough, she sides with Hindley in a brawl between Hindley and Heathcliff and then taunts Heathcliff about his failed relationship with Catherine. Unable to handle her insults, '…he snatched a dinner-knife from the table and flung it at my head. It struck beneath my ear, and stopped the sentence I was uttering…' prompting Isabella to finally leave him.

Wuthering Heights Violence Authority and Desire English Literature Essay

Emily Bronte’s Wuthering Heights, published in 1847, is a novel that centers around two characters, Catherine and Heathcliff, and the obstacles that they must overcome in order to be together. Bronte explores many themes throughout Wuthering Heights, including that of revenge, family and betrayal. Further, the novel is based upon concepts of violence, authority and desire, which are believed to be key within the novel and therefore I shall further discuss these themes.

In looking at the concept of violence within Wuthering Heights, it is considered to be a rather destructive novel not only for the time it was written but also for contemporary readers. It seems as though the majority of the characters within the novel take part in acts of violence. The relationship between Cathy and Heathcliff is full of violent passions and rather aggressive rows. Their meetings appear to be somewhat animal-like. Likewise, Heathcliff’s relationships with Isabella and Catherine are equally presented with harshness and cruelty, but lack the element of romantic passion that he has with Cathy, There are many examples of violent situations within the novel, one in particular being in Chapter 7 (see fig 1, attached) whereby Heathcliff is jealous of Edgar Linton and throws applesauce in his face. The violence is answered with more violence as Hindley takes him upstairs and beats him, and upon returning he tells Linton that next time he should beat him himself. The effect of the violence on the readers is its ability to shock; one may argue that this level of violence is required in order to maintain the shock factor. Further, it has an impact on the characters too in that they become mentally able to tolerate the frequent acts of violence that they experience and participate in. The violence within the Linton and Earnshaw households create a permanent sense of threat for the characters within the novel and also for readers of Wuthering Heights.

The theme of desire explored in Wuthering Heights is most evident through the portrayal of love and passion. Arguably the greatest love within the novel is between Catherine and Heathcliff; despite it being all-consuming it is also rather destructive. In contrast to this, the love portrayed between Catherine and Edgar is seemingly more civilized than passionate. Their love shows peace and comfort, and is more socially acceptable, but nonetheless it doesn’t stand in the way of Heathcliff and Catherine’s more profound connection. We are introduced to this dilemma within Chapter 9 (see fig 2, attached). We are shown Catherine’s love for Edgar is rather superficial in that readers are made aware prior to this of her true feelings towards Heathcliff. This chapter strongly questions the idea of marriage, not only the reasoning behind it but also the necessity of it. Catherine marries Edgar although she loves Heathcliff considerably more. Yet, as long as he is still in her life she can exist. It is suggested that Catherine’s love for Edgar is superficial, whereas her passionate love for Heathcliff is so strong that it does not require the bond of marriage to secure it.

Wuthering Heights contains elements of a patriarchal society in that there is a social system in place whereby the father of the household has ultimate authority over women, children, and property. From a feminist perspective this could arguably be seen as an unjust social system as it is oppressive towards women. It seems as though all the male characters portray this element of patriarchy; Mr. Earnshaw is an example of a patriarchal figure as he brings back a young child and expects Mrs. Earnshaw to treat the child as her own, however Mrs. Earnshaw was ready to fling it out of doors. She did fly up asking how he could fashion to bring that gypsy brat into the house. This immediately suggests Mrs. Earnshaw’s unhappiness in taking the child in, but as Mr. Earnshaw is head of the household she cannot object to this. Further, Heathcliff is also a patriarchal figure in that not only does he imprison Cathy and Nelly but he also treats Isabella in a cruel manner and isolates Cathy after her marriage to Linton. Linton himself is not any different from the other male characters within the novel as he confines his daughter to the boundaries of Thrushcross Grange and also makes Catherine choose between himself and Heathcliff thus restricting her identity. Furthermore, Hindley too oppresses and degrades the new Heathcliff. Bronte creates all the male characters in this way as arguably she could be trying to make a statement of the time by presenting us with such a dominant patriarchal figures within her novel.

The readers of Emily Bronte’s Wuthering Heights have different views of the character of Heathcliff. His state of mind changes throughout the novel and his personality takes a dramatic alteration during Volume I. This essay will look at the character of the misanthropist, Heathcliff, and how the readers view him at different stages in the book.

In chapter 1 of Wuthering Heights, the character Lockwood meets Heathcliff. Straight away Lockwood has an instant opinion of Heathcliff. Lockwood describes Heathcliff as quite abrupt in his manner of speaking. His tone of voice is described as a ‘genuine bad nature’.

The reader, at this point, doesn’t like Heathcliff too much. He is seen as rude and aggressive. The reader views him as unfriendly, brooding character. Lockwood also says that the house looked like it belonged to ‘a homely, northern farmer’.

This image is Lockwood’s stereotypical view of Heathcliff. Heathcliff’s appearance is also spoken about. Lockwood calls him a ‘dark-skinned gypsy’. This term would suggest that Heathcliff is an outsider, someone who has no friends and is left out of everything.

However, he is also said to have an ‘erect and handsome figure’. The personal appearance of Heathcliff contradicts with his personality. Heathcliff is a character of many contradictions. By the end of chapter one, the reader sees Heathcliff as a cruel and vulgar character.

In chapter 3, Lockwood reads part of Catherine’s diary. From it he finds out about the traumatic childhood Heathcliff experienced, and his stepbrother, Hindley, had treated him badly. I can see this from a quote that Catherine says, “Poor Heathcliff! Hindley calls him a vagabond, and won’t let him sit with us, nor eat with us”. These are harsh actions from Hindley, as Heathcliff is cast aside as a loner.

The term vagabond refers to the tramp status that Heathcliff has attained. By the end of this chapter, the reader has slightly changed their view of Heathcliff. We see love and compassion deep in Heathcliff’s soul that is shown when the name Catherine is mentioned. Heathcliff’s character encourages sympathy and repulsion.

We can tell that Heathcliff is in agony, after the appearance of her ghost. He calls out her name, pleading for her to return ‘once more’. However, we also discover his cruelty and his calculating and manipulative side. The next chapter shows an important part of Heathcliff.

Nelly Dean, the housekeeper, is introduced. She begins to tell Lockwood about Heathcliff and his history. We see the terrible time that Heathcliff experienced as a child. When brought home by Mr.

Earnshaw, Catherine welcomes him lovingly. However, the sight disgusts Hindley. Heathcliff is described as a ‘dirty, ragged, black-haired child’ He is also called a ‘gypsy brat’ and is constantly referred to as ‘it’. This use of words dehumanizes Heathcliff.

The reader now feels sorry for Heathcliff and pathos, due to his upbringing. Heathcliff is depicted as having a ‘cuckoo’s’ history. This is significant, because the cuckoo bird is known for stealing the nests of other birds. This reflects how Heathcliff usurps the roles of the other people.

It becomes relevant later in the book. Heathcliff and Catherine are seen as really close friends. They are very mischievous together, and the reader can automatically see how much Heathcliff cares for Catherine. Their love for one another seems to go slightly beyond and brother and sister relationship.

The end of chapter 4 shrouds Heathcliff shrouded in mystery. He is known to despise company and society, but enjoy isolation and solitude. The stormy moors reflect the character of Heathcliff with pathetic fallacy. Heathcliff is an outsider.

Hindley rejected him, and even Catherine spits at him when she first see him.In chapter five, Mr. Earnshaw dies, causing the protection of Heathcliff to disappear. Hindley is now free to torment Heathcliff more.

The reader can still feel sympathy for Heathcliff. Chapter six shows the start of the slow separation of Catherine and Heathcliff. Without the protection from Mr. Earnshaw, Hindley treats Heathcliff horribly.

There is a lot of evidence for this, but one of the more horrible things Hindley does is when Catherine and Heathcliff are out in the moors at night. Hindley tells the other staff to “bolt the doors” and he made sure “nobody should let them in that night”. This is something wicked that Hindley does, as the children are only young, yet he still leaves them out on the dangerous moors. Heathcliff is essentially victimized by Hindley, who takes every opportunity to exact revenge upon his old enemy.

Heathcliff’s words are violent and malicious. This represents his extreme character, which hints at his envy and bitterness towards Edgar, whom Catherine is spending a lot of time with. An important chapter is chapter seven as it shows the changes that are occurring in Catherine, which eventually cause the changes in Heathcliff. Catherine has been spending a lot of the time with the Linton’s.

She has changed dramatically, so that she is hardly recognizable compared to her previous self. From her time with the Linton’s, Catherine had become more mature. She still cares for Heathcliff, but is spending less and less time with him. She has become very shallow and judges Heathcliff on his appearance.

Catherine says, ‘Why, how very black and cross you look! And how – how funny and grim’. This shows that Catherine has changed. She is treating Heathcliff differently. From this point, the reader can tell that their love for one another will be unfulfilled.

Heathcliff has lost the one person that he ever loved and will ever love. Catherine alteration is starting to change Heathcliff. He now feels different and wants to fit into Catherine’s new life. He says to Nelly, ‘I wish I had light hair and fair skin, and was dressed and behaved as well’.

This shows that Heathcliff is thinking of his appearance and is letting Catherine’s words get to him. Chapter eight shows how the whole situation evolves. Heathcliff argues with Catherine about the Linton’s. This is the first sign of a break down in their relationship.

Heathcliff says what he truly thinks of the Linton’s. He calls them ‘pitiful, silly friends’. Catherine is mean-spirited towards Heathcliff. This is a big turning point, as it shows that Catherine is starting to become like the Linton’s, and is growing further away from Heathcliff.

She says ‘You might be dumb or a baby for anything you say to amuse me, or for anything you do either’. This has shown a completely different side to Catherine. Another factor in chapter eight is that Hareton, Hindley’s son, is born. Soon after, Frances, Hindley’s wife dies.

This causes Hindley to go into an alcoholic state. He becomes more aggressive and tormenting toward Heathcliff. A part of Nelly’s descriptive says, “His treatment of the latter was enough to make a fiend of a saint”. This emphasizes the hatred of Hindley towards Heathcliff, as he says Nelly says that his treatment of Heathcliff could have turned a saint into a fiend.

At the end of the chapter, the reader can sympathize with Heathcliff.In chapter nine, we see that Heathcliff is a vengeful person, and he has a strong desire for revenge, due to the tough times he has been going through with Catherine continuing to see the Linton’s and Hindley still treating him badly.. This transcends any emotion and relationship between any other members of the family.

Heathcliff has broken down since losing Catherine. His state of mind is weak, and he is confused. By the end, Heathcliff has left Wuthering Heights.In chapter 10, Heathcliff has returned after a few years.

Catherine and Heathcliff’s reunion is very emotionally painful. It is clear that a darker pain lurks beneath the fa�ade. Bronte, here, portrays Heathcliff as sensitively uncertain and almost cowardice. The reader sees this as a tormenting time for Heathcliff.

Nelly is no longer at Wuthering Heights. She is at Thrushcross Grange with Catherine and the Linton’s. This means that Hareton is not looked after properly. He becomes a feral child, which is reminiscent of Heathcliff’s childhood.

Hareton’s poor education is part of Heathcliff’s revenge. Heathcliff has changed since being away. He is described as a ‘tall, athletic, well-formed man’. Bronte’s readers would have found this quite suspicious, considering the state in which Heathcliff left.

Heathcliff has become vengeful and vindictive in chapter 11, more than ever. Catherine vows to starve herself and Catherine’s illness worsens in chapter twelve. Heathcliff becomes angry with her and also for himself. He starts to doubt his plans, which shows a side of Heathcliff that is rarely see.

However he still continues with his plans for revenge. In this chapter, he continues to plot revenge. This shows he is still determined, even after his ordeal with Catherine. Heathcliff eloping with Isabella is part of his revenge against the Linton’s.

After Heathcliff’s marriage to Isabella, he shows his true self to her. He is a vicious tyrant. He is neglectful and cruel to her. Another part of his revenge plan comes together, when he persuades a drunken Hindley to gamble Wuthering Heights, to which Heathcliff wins and becomes the new owner of the house.

Heathcliff is spiteful and malevolent towards everyone that hated him. He shows no signs of guilt from what he is doing. Heathcliff has turned into a brute and a fiend to get revenge. The last chapter, Chapter fourteen shows that Heathcliff is now harming is wife Isabella.

His actions are brutal and sadistic in his treatment to her, yet he still feels a genuine love for Catherine. The reader now sees him as an ogre. By the end of volume 1, Heathcliff is seen a heartless and callous man. The reader has, so far, felt some pity and sympathy for him at few stages of the book, mainly toward the beginning, but he changes and becomes and evil being, that plots revenge upon everyone he hates.

Bronte has been clever in creating the character of Heathcliff in volume 1.He is vicious, yet he is still more popular with readers than the dour Edgar or the delusional Isabella. Heathcliff and his actions can horrify the reader, yet thy still want for him to get his revenge. Heathcliff is a gripping character that can get away with anything, as the reader will always come back for more.

In volume II, there is a lot of tension between the Catherine and Heathcliff due to their unfulfilled love for one another. This atmosphere that Bronte creates leads to a sense of pathos surrounding Heathcliff, who is tortured by his love for Catherine, yet knowing he can never have her. Heathcliff has trouble to forgive Catherine for what she has done to herself and to him, but Catherine tells Heathcliff, ‘You have killed me – and thriven on it’. Catherine blames Heathcliff and Edgar for killing her; she says it was them that drove her to this.

However Heathcliff replies to this ‘You know you lie to say I have killed you’. Heathcliff’s love for Catherine can be seen as destructive. This chapter provides the reader with the emotional climax of the novel. The chapter presents passion, yet it is also melodramatic.

However, the main feeling is pathos, as Heathcliff resents Catherine for what she has done. Soon after, Catherine dies. At the time when Bronte wrote Wuthering Heights, women were meant to be compliant and obedient towards their husbands, so when Isabella runs away from the Heights and away from Heathcliff, in chapter 3, this shows that Isabella must have had a horrendous time with Heathcliff, as she has gone against what was morally right in that time period. Bronte presents this act of outrageous behavior as an act of self-preservation.

When talking to Nelly, Isabella describes Heathcliff as ‘devilish’. This is a very strong word in Bronte’s time as it relates to hell and religion, which was highly believed. She also says ‘Monster! would that he could be blotted out of creation, and out of my memory’. Isabella hates Heathcliff so much she wishes she had never met him or that he was never born.

The strongest thing she says about Heathcliff in chapter 3 is that ‘He is not a human being’. This shows how corrupt and evil Heathcliff has become that he is no longer recognized mentally. The characters are seeing him as spiteful and dangerous. They don’t even think he is human.

Heathcliff is also said to have ‘murderous violence’. This shows that Heathcliff is beating Isabella and taking his aggression out on his wife. Heathcliff is brutal and unruly. The end of chapter 3 shows Heathcliff praying to Catherine who has become a goddess of his blasphemous idolatry.

Heathcliff is still very resolute and merciless throughout this chapter. He treats Hareton as a farm boy and acts violent towards him. This shows that Heathcliff cannot forget the fact that Hindley treated him badly through his childhood and continued through some of his life. Heathcliff sees, now, that the only possible way to get back at Hindley is to mistreat his son, even though his half-brother is dead.

Heathcliff is bitter and vindictive. By now, the reader cannot feel any pity for Heathcliff because of what he has turned into. Chapter 6 shows a development of the character Heathcliff. His son, Linton, is forced to stay with Heathcliff, as Isabella dies in chapter 5.

When Linton reaches the Height, he is greeted by his heartless father who laughs mockingly at him. Nelly’s narrative claims that ‘Heathcliff, having stared at his son into an ague of confession, uttered a scornful laugh’. If this cruel behavior isn’t enough, Heathcliff uses words like ‘it’ referring to Linton. This dehumanizes Linton and reflects the exact way in which Hindley treated Heathcliff when they first met.

Heathcliff has become something he hates. Heathcliff is also very sarcastic towards Linton. He says ‘God! What a beauty! What a lovely charming thing!’ This is meant in a sarcastic manner. Heathcliff doesn’t respect Linton or his feelings.

He also says ‘Haven’t they reared it on snails, and sour milk, Nelly?’ This is offensive towards Linton, but Heathcliff continue with the mocking taunts. Heathcliff also insults Isabella, Linton’s mother, by calling her a ‘slut’, even though she is dead. One final thing that Heathcliff does shows why he hates his son. Heathcliff says, ‘Thou art thy mother’s child entirely! Where is my share in thee, pulling chicken’?

Heathcliff despises his son because he reminds him too much of Isabella and Edgar. Linton looks too much like a Linton. Later in this chapter we find out that Heathcliff will use Linton to acquire Thrushcross Grange. He is seen as a contemptuous and resentful father who unscrupulously manipulates his son to achieve his own desires of vengeance and power.

Chapter 7 sees the continuing hatred of Linton from Heathcliff. Although Linton is well cared for at the Heights, Heathcliff hates him. Linton is very weak, both physically and mentally. This is one thing that Heathcliff despises.

This weakness reminds him of the Linton. This is another thing that Heathcliff despises. And finally, as Heathcliff blames the Linton’s for Catherine’s death, he blames Linton for Catherine’s death. Heathcliff hates his son too much to attempt to be kind.

Heathcliff starts to emotionally blackmail Cathy in chapter 8. He wants to be the owner of Thrushcross Grange, so he needs Cathy to marry Linton. This is the only way that Heathcliff will get the house, as the property will automatically go to Linton when he marries Cathy, which will be given to Heathcliff, as Linton is close to death. Heathcliff plan is cruel and calculating.

His wickedness reaches new heights, as this would bankrupt Cathy, and he doesn’t mind if his son dies, as long as he is in control. Heathcliff becomes very controlling over Linton, and influences him over the next two chapters, especially in chapter. In effect, Linton becomes Heathcliff’s vassal. He is forced to do unwilling things by his father, one of these being marrying Cathy.

Throughout the next few chapters, we see that the only emotion that Heathcliff experiences are hatred and any other emotion is seen by Heathcliff as a sign of weakness and humanity. Chapter 14 is about the corruption of Linton further by his father. He is Machiavellian in the extreme. He is shown as having a very deceitful and cunning mind.

Another important plot in this chapter is that Edgar is dying. His last wish is to alter his will so that Catherine’s fortune will be placed in the hands of trustees. If Edgar succeeds, Heathcliff’s plan will be ruined, and he will not gain the fortune or the Grange. However, Heathcliff is already one step ahead of Edgar.

He has bribed his lawyer, so that he will arrive at the Grange too late. Edgar would be dead by the time the lawyer had got there. Nelly says about Heathcliff, “He said Mr. Green, the lawyer, was out when he arrived at his house, and he had to wait two hours for his re-entrance”. This is a very conniving plan and it shows the depth of evil that Heathcliff is prepared to sink into.

Heathcliff is evil and you can certainly see that he is willing to be from the narrative in chapter 16. His son, Linton is dying, yet Heathcliff makes no small attempt to call for a doctor. The reason for this is that Heathcliff thinks that Linton is ‘not worth a farthing’. This, again, shows his cruelty towards his son, even when he is about to lose him forever.

Later in the chapter Linton dies, and he leaves everything to Heathcliff. Heathcliff doesn’t care about his son, dead or alive; all he wants is the money and the house. This shows a more greedy side to him and more determined than he has ever been before. However, Heathcliff still amazes the reader by how malicious he is and what he is prepared to do to get higher in life.

In the penultimate chapter, chapter 19, there is a distinct change taking over the Heights. With Heathcliff too weak to do anything, Cathy and Hareton start to take over in their own way. There is a different change in the novel. Lockwood notices this straight away.

One of the things he notices is that, “I had neither to climb the gate, nor to knock – it yielded to my hand. This shows that the Heights are no longer locked up like a prison. Another change is, “a fragrance of stocks and wall flowers”, which shows that the horrible ambience is no longer surrounding the place. This must mean that a big change has happened to Heathcliff.

Heathcliff confides in Nelly. We see how he desires death and a release from his ‘earthly hell’. This phrase shows how hanged Heathcliff has become. He considers his life as hell, with no purpose, yet before he considered life as a chance for revenge.

However, it is not humanity that is stopping Heathcliff continue with more ruthless plans, it is purely the fact that he is too tired and weak to do any more. This could be another reason for why he wants to die. We found out in a previous chapter that Heathcliff despises weakness, and now he despises himself, as he is weak. He says ‘I have lost the faculty of enjoying their destruction; I am too idle to destroy for nothing ‘By the end of the chapter, Heathcliff’s mental health assumes a worrying status.

His obsession of Catherine has now entered a supernatural side of things, as well as physical embodiment. He begins to see her image everywhere he turns. The line that proves this is when Heathcliff says ‘her features are shaped on the flags! In every cloud, in every tree – filling the air at night and caught by glimpses in every object, by day I am surrounded by her image. ‘He then finishes what he is saying with a strong sentence ‘The entire world is a dreadful collection of memoranda that she did exist, and that I have lost her’.

This is quite a sad image, as after everything Heathcliff has been through and everything that he has done, he still finds it hard to forget his one true love, and how they could never be together. This is a heart-breaking moment for Heathcliff, and the reader can fell sympathetic towards him. Heathcliff considers death to be a release from his emotional torment. This could be a reason for his vindictive behavior.

His desire for vengeance could be a means to focus his mind on a corporeal earthly target. In the last chapter of the book, Nelly finishes her narrative by describing Heathcliff’s last moments before he dies. Bronte produces quite a calm and soothing atmosphere, yet Heathcliff is still able to be cruel. He calls Cathy, ‘the other’.

Heathcliff may have become weaker and unable to plot against people, but he still carries his mean-hearted spirit. Eventually Heathcliff dies. When Nelly finds him, she says ‘His eyes met mine so keen, and fierce, I started’. Even when Heathcliff is dead, he still has a determined look about him.

To conclude, Bronte presents Heathcliff as a powerful, yet evil man. Through volume one, the reader will feel sympathy for Heathcliff at some stages in the book. However, this feeling of pathos decreases through volume two and there are fewer stages where the reader does feel sorry for him. Bronte’s character of Heathcliff progresses a lot in the novel.

He becomes, to an extent, heartless. Bronte has been clever in creating Heathcliff, because, although he is violent and malicious, he is still the most popular character in the novel. Heathcliff and his actions can horrify the reader; yet still leave them wanting him to get revenge. Heathcliff is a gripping character that can get away with anything in the reader’s eyes, as the reader will always come back for more.

Sources:

·      https://study.com/academy/lesson/violence-in-wuthering-heights-examples-analysis.html

·         https://www.ukessays.com/essays/english-literature/wuthering-heights-violence-authority-and-desire-english-literature-essay.php

·         https://graduateway.com/heathcliff-wuthering-heights/