...Year | Doctor Faustus | Wuthering Heights | Frankenstein | Section B | June 2015 | | | | | June 2014 | “Faustus is a gothic victim, rather than a gothic villain.” To what extent do you agree with this view of Faustus’s role in the play? (40 marks) | “In Wuthering Heights love is presented as an emotion which provokes violence rather than tenderness.” To what extent do you agree with this view? [40 marks] | To what extent do you agree with the view that the novel is a total condemnation of transgression? [40 marks] | “Gothic writing is exciting because it allows us to think the unthinkable.” How far do you agree with this view? [40 marks] | | | | | To what extent do you think gothic writing is a disturbing exploration of the unknown? [40 marks | | | | | To what extent do you agree with the view that gothic writing shows that human beings are naturally inclined to be evil rather than good? [40 marks] | June 2013 | “Although Faustus is eventually punished, the play is essentially a celebration of sin rather than a morality tale.” How far do you agree with this view of the play? (40 marks) | How far do you agree with the view that, in Wuthering Heights, Emily Bronte shows that more suffering is caused by a diseased mind than by a diseased body? (40 marks) | Explore some of the ways in which Mary Shelley uses different settings to contribute to the gothic effects of the novel. (40 marks) | To what extent do you agree that, in gothic writing, fear and pain are...
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..."The Victorian elements in Wuthering Heights by Emily Brontё" The Victorian Era, in which Brontё composed Wuthering Heights, receives its name from the reign of Queen Victoria of England. The era was a great age of the English novel, which was the ideal form to descibe contemporary life and to entertain the middle class. Emily, born in 1818, lived in a household in the countryside in Yorkshire, locates her fiction in the worlds she knows personally. In addition, she makes the novel even more personal by reflecting her own life and experiences in both characters and action of Wuthering Heights. In fact, many characters in the novel grow up motherless, reflecting Emily’s own childhood, as her mother died when Emily was three years old. Similarly, the vast majority of the novel takes place in two households, which probably is a reflection of author’s own comfort at home as whenever she was away from home she grew homesick. Emily Brontё’s single novel is a unique masterpiece propelled by a vision of elemental passions but controlled by an uncompromising artistic sense. However, despite the relative invisibility of Victorian influence in the plot and content, the attitudes of the Victorian Era make some impact on the story, and the novel is considered not only a form of entertainment but also a means of analyzing and offering solutions to social and political problems. Brontё may not highlight the social aspects in the novel, nevertheless the indications of Victorian society’s...
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...‘The Gothic elements of Wuthering Heights are made credible by the novel’s setting and narrators.’ How far would you agree with this view? Wuthering Heights is Emily Bronte’s only novel and was published in December 1847 under the androgynous pseudonym Ellis Bell, due to having a, “vague impression that authoresses are liable to be looked on with prejudice”. This initial perception demonstrates the lack of gender equality within the Victorian era, with autocratic male dominance being commonly viewed as an ideal within the restrictive patriarchal society; such varying social conventions resonate throughout the novel, perhaps providing a sense of stability, reality and authenticity among the primal passions, savage cruelty, and supernatural entities present within the boundaries of Wuthering Heights and the Yorkshire Moors. The juxtaposition provided by the arguably civilised, ornate Thrushcross Grange provides a rational foundation where societal norms are upheld, with the domestic, cultural setting providing a balance to the unruly natural passions; it is suggested further that cogency is gained not only through the historical and geographic settings, but also through the dual narration of Nelly Dean and Lockwood. Contrastingly, a deeper reading suggests that the societal beliefs and conservative, obstinate nature of the narrators would cause them to condemn individuals and demonise events that threatened the social balance, meaning the creditability can certainly be disputed...
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...Setting in Wuthering Heights INTRO: The setting in Wuthering Heights plays a significant role in the unfolding of the narrative, with the dark and foreboding environment foreshadowing the gloomy atmosphere found in the remainder of the book. Furthermore, the descriptions of the setting symbolise similar aspects of the personalities of the protagonists, depicting isolation and separation within both of the two main settings, Wuthering Heights and Thrushcross Grange. Wuthering Heights and its occupants are wild, passionate, and strong. These attitudes are clearly reflected through the large, cold and dark house, situated on top of a ruthless hill on the moors, while Thrushcross Grange and its inhabitants are calm and refined, with the house situated in a valley of the moors. These two opposing forces struggle throughout the novel. Their morals and values are constructed to reflect the surroundings they are placed in, which helps the reader to understand them and their situation more. 1ST PARA: * many comparisons can be seen between Heathcliff and the house * This house is a dark bleak, unpleasant place situated on a high, windy crest on the moors. Yet not only is the atmosphere of Wuthering Heights similar to that of Heathcliff, but both are also physically described in a similar way. * The house is described as –grotesque-, with -strong...narrow windows...deeply set in the wall, and the corners defended with large, jutting stones-. * This is similar to many...
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...12/7/2015 Wuthering Heights - Wikipedia, the free encyclopedia Wuthering Heights From Wikipedia, the free encyclopedia Wuthering Heights is Emily Brontë's only novel. Written between October 1845 and June 1846,[1] Wuthering Heights was published in 1847 under the pseudonym "Ellis Bell"; Brontë died the following year, aged 30. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel, Jane Eyre. After Emily's death, Charlotte edited the manuscript of Wuthering Heights, and arranged for the edited version to be published as a posthumous second edition in 1850.[2] Although Wuthering Heights is now widely regarded as a classic of English literature, contemporary reviews for the novel were deeply polarised; it was considered controversial because its depiction of mental and physical cruelty was unusually stark, and it challenged strict Victorian ideals of the day, including religious hypocrisy, morality, social classes and gender inequality.[3][4] The English poet and painter Dante Gabriel Rossetti referred to it as "A fiend of a book – an incredible monster ... The action is laid in hell, – only it seems places and people have English names there."[5] In the second half of the 19th century, Charlotte Brontë's Jane Eyre was considered the best of the Brontë sisters' works, but following later re-evaluation, critics began to argue that Wuthering Heights was superior.[6] The book has inspired adaptations...
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...Gothic fiction combines the emotion of love, despair and horror. The genre continues to be a very successful genre of literature today and is widely used today for both entertainment and education purposes. For two centuries, G has gripped and frightens readers of different ages. During the eighteenth century England, Gothic had become synonymous with the Middle Ages. It was a period perceived as chaotic, unenlightened and superstitious. “Renaissance critics erroneously believed that Gothic architecture was created by Germanic tribes and regarded it as ugly and barbaric. This erroneous attribution continued through the eighteenth century.” (http://academic.brooklyn.cuny.edu/english/melani/gothic/gothic.html) Horace Walpole first introduced...
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...Religion in ‘Wuthering Heights’ & ‘The Color Purple’ March 30, 2012 Orthodoxy in ‘Wuthering Heights’ Wuthering Heights takes orthodox Victorian Christian religion and turns it on its head. The narrative is delivered to us by Lockwood, who gets his narrative from Nelly Dean. Nelly is an orthodox Christian and gives us a biased viewpoint, calling Heathcliff a ‘devil’ and associating him with the demonic. With his black hair and unbridled wrath, violence, greed and lust, Heathcliff is an embodiment of everything Victorians feared. His passion was completely unacceptable. Heathcliff lures Catherine from being an acceptable Victorian girl to being brutally passionate as well. Catherine’s big choice in the novel whether to marry Heathcliff or Edgar reflects society’s pressure. She chooses Edgar despite the fact that her sense of identity is bound up in Heathcliff. That’s why she suffers so much when she marries Edgar. One issue in the novel is discerning the author’s voice. Bronte’s voice is not the voice of Lockwood, who in many ways is a farcical character who doesn’t understand at all the relationships of Wuthering Heights he has stumbled upon. Nelly Dean’s voice doesn’t seem to be one that Bronte wants us to trust; there are several incidents where Nelly lies, or at least conceals the truth of Catherine’s real situation from Edgar. Nelly tells us that Catherine dies and rests in peace, but her words are contradicted by the reports of Catherine and Heathcliff being seen walking...
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...A. Hare English 46B May 18, 2012 Final Question 1 Victorian novels Emma by Jane Austen, Wuthering Heights by Emily Bronte, Middlemarch by George Elliot and early twentieth century novel Mrs. Dalloway by Virginia Woolf all portray and emphasis a heighten sense of awareness in their societies, social lives and love. The evolution of main characters in each of the novels shows transition between the writers and characters through close observations of social interactions. Victorian novels more often idealized a sort of portrait of love and luck that wins out towards the end; rewarding virtue and that wrongdoer are punished. This however was to be intended to improve the moral nature of one’s heart. Twentieth century writers had and a slightly different view of that of Victorian writers in which embodied a more modern period and more modern view on life. The concepts of love in each of these four distinct novels are apparent in the way that each are craftily structured. Jane Austen’s Emma use of free indirect style for example on page 327-28 which marks a crucial moment in the novel where the main character Emma has a crucial realization “with insufferable vanity had she believed herself in the secret of everybody’s feelings; with unpardonable arrogance proposed to arrange everybody’s destiny”; the theme in which this novel centered around a number of marriages and social status. In gaining social advancement was especially important for women if they stood a chance for improving...
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...Heathcliff from Wuthering Heights Wuthering Heights it is a Gothic novel designed to both horrify and fascinate readers with scenes of passion and cruelty, supernatural elements, and a dark, foreboding atmosphere. The story is narrated by Lockwood, a newcomer to the locale of Wuthering Heights that records in a diary what Nelly, a servant, told to him. All the action of Wuthering Heights takes place in the moors, a place of solitude, far away from any village or city. There are two main households: Wuthering Heights and Thrushcross Grange, both are isolated from society, forcing each household to create a society of their own Wuthering Heights centers on the story of Heathcliff -one of the most fascinated personage in literature, merely described by three narrators: Lockwood, Nelly and Catherine. The first paragraph of the novel describe Heathcliff by the voice of Lockwood as a “solitary neighbour that I shall be troubled with” and hints about him being a misanthropist. Lockwook present him also as a strong, but just man although we sense that there are some hidden menace in his background. The presentation of Heathcliff go even further: he does not speak – he growls, he does not smile – he grins, and even sneers on occasion. He arrives at Wuthering Heights as a dark and dirty orphan from Liverpool and he ends his days as a powerful landlord of both Wuthering Heights and Thrushcross Grange. Heathcliff is frequently compared to a demon. The diabolic image is enhanced...
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...Neilson Item description: The Gothic novel is characterised by several established features: the supernatural, passion, violence and fear. In this article Heather Neilson examines the predominate characteristics of a genre which emerged as a response to a period of instability in personal, social and political life. Whether conservatively defined as referring to a group of novels written by English authors between the 1760s and the 1820s- a definition which would include Frankenstein, but not Wuthering Heights or The Turn of the Screw- or more liberally as a genre still vital and evolving, the Gothic novel is characterised by several established features. The predominant characteristic is an emphasis on fear: stories in the Gothic mode are overtly affective in intent, concerned with eliciting as well as portraying extremes of emotion. Also generally found in the Gothic novel re a prominent use of the supernatural ( even phenomena have been logically explained away by the tale), an archaic setting, the depiction of violence and passion, and stereotyped characters. It is a commonplace that the Gothic is essentially a middle-class genre, having first emerged in a period of instability in personal, social and political realities. In the Gothic novel there a precarious oscillation between anxiety an reassurance, as regards the alien or disruptive, a sustained tension between the expression and repression or irrational or unwholesome desires. While Gothic fiction seems ostensibly to...
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...The opposing forces of Wuthering Heights. Emily Brontë’s Wuthering Heights can be seen as one of the most influential works of fiction produced during the Victorian age. In Brontë’s novel, the reader will encounter many oppositions across several elements of the story. These oppositions play a vital role in the development of both the characters and the plot and have been discussed by many critics. According to Melvin R. Watson, as he describes in his article “Tempest in the Soul: The Theme and Structure of “Wuthering Heights,”” a most influential theory is that of the opposing forces of calm and storm developed by Lord David Cecil (Watson, 88). This theory, however, does not completely encompass the multitude of opposites found in the novel. The oppositions found in Wuthering Heights all serve specific roles in the development of the characters and the plot of the novel. The universe of the opposing forces of the calm and the storm that can be found within Emily Brontë’s Wuthering Heights is one that encompasses many elements of the story. At the very start of the novel, the narrator, in the form of Mr. Lockwood, gives the reader a detailed description of the house he is about to enter: Wuthering Heights is the name of Mr. Heathcliff’s dwelling. ‘Wuthering’ being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, bracing ventilation they must have up there at all times, indeed: one may guess...
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...The Edge…There is no honest way to explain it because the only people who really know where it is are ones who have gone over.” - Hunter S. Thompson. Explore the presentation of the troubled mind in Emily Bronte’s Wuthering Heights and the poetry of John Keats, with illuminating reference to Ken Kesey’s One Flew Over the Cuckoo’s Nest. “The Edge” described by Hunter S. Thompson is, he says, unexplainable. What seems clear is that ‘the Edge’ is at the limit of the human mind. It can’t be explained, Thompson says, because the only people who ‘really know where it is’ are the ones who ‘have gone over’ it, those who have died or else never returned to ‘reality’ and ‘sanity’. Emily Bronte’s Wuthering Heights, the poetry of John Keats, and Ken Kesey’s One Flew Over the Cuckoo’s Nest all describe, in differing ways, states of mind on ‘the Edge’. When they were first published, the contemporary reception to Keats’s poems and to Wuthering Heights was remarkably similar. Keats was described as writing ‘the most incongruous ideas in the most uncouth language’ , while Bronte’s novel (published under the male pseudonym Ellis Bell) was called ‘too coarse and disagreeable to be attractive’, and described as ‘wild, confused, disjointed, and improbable’ with characters who are ‘savages ruder than those who lived before the days of Homer.’ These accusations of ‘uncouth’, ‘coarse’ and ‘disjointed’ writing suggest that both authors had already crossed one edge with their writing: the edge...
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...Emily Bronte explores the depths of both mental cruelty and physical cruelty in what has been branded by John Bowen as an “extraordinarily violent book”, Wuthering Heights. Mental cruelty is suffering without physical assault, whilst physical cruelty causes harm to another, whether intentionally or not. Both mental cruelty and physical cruelty are demonstrated within the novel, as a result of oppression, society and circumstances in this Gothic novel, each main character is exposed to excess elements of both said cruelties over the course of Wuthering Heights. Based upon David Cecil’s theory that Wuthering Heights is an allegory to which he applies the ‘House of Storm’ and House of Calm’ concept, the Heights is immediately established to be a place of innate cruelty and of wild uninhibited primitive emotions. This is made evident when Mr. Lockwood, an educated gent of a high social class visits the heights and is met with the imminent cruelty of the residents. The dogs which inhabit Wuthering Heights are “not accustomed to being spoilt”, much like Heathcliff who is first labelled as “it” and experiences the long term effects of mental cruelty through exclusion and brandishing as a “gipsy boy”, which were deemed as undesirable and a pollutant to society at the time of writing. Instantly Heathcliff is faced with mental cruelty of both social attitudes at the time towards ethnic groups, and the torment which faces him in the form of Hindley and Edgar Linton as he is treated and...
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...[p. 272] 10. Fiction Overview The super-productive Dickens is the dominant figure of the Victorian novel, combiningelements of the Gothic - a genre made serious by the Brontë sisters - with a remarkablyimagined account of the social institutions of Victorian London. The mode of his novelsowes much to popular stage and melodrama, though language and character-creation arehis own. His rival, Thackeray, is represented here by Vanity Fair. A less theatricalrealism comes in with Mrs Gaskell and Trollope, and with the historian of imperfectlives in their fullest social settings, George Eliot. The triumph of the novel Modern images of 19th-century English life owe much to novels, and versions of novels.By 1850, fiction had shouldered aside the theatre, its old rival as the main form of literary entertainment. As with the drama at the Renaissance, it took intellectuals sometime to realize that a popular form might be rather significant. Human beings havealways told stories, but not always read the long prose narratives of the kind known asnovels. The reign of the novel has now lasted solong as to appear natural. There had been crazesfor the Gothic novel and for Scott’s fiction, yet itwas only in the 1840s, with Charles Dickens, thatthe novel again reached the popularity it hadenjoyed in the 1740s. Between 1847 and 1850appeared Jane Eyre, Wuthering Heights, VanityFair and David Copperfield. In 1860, Dickens wasstill at his peak, Mrs Gaskell and Trollope were going strong...
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...WUTHERING HEIGHTS: IDEAS AND THEMES Wuthering Heights was published in 1847 under the pseudonym “Ellis Bell”. Charlotte presented her sister Emily as an unconscious artist who “did not know what she had done”. Unlike what Charlotte thought of her sister, some literary critics agree on the fact that it is a very carefully constructed novel. The main problem of critical response was that critics could not work out its moral standpoint. Both lovers deliberately marry other partners. As Catherine Earnshaw dies halfway through the novel, which pair of lovers is meant to carry our approval, Catherine and Heathcliff or young Catherine and Hareton? Moreover their voices reach us through a medley of others: Mr Lockwood, Nelly, Isabella, who are often ignored by readers. A parable of a natural equilibrium disturbed by an external force and eventually somehow restored. The theory that a principle of calm and storm informs the novel provided a comprehensive interpretation. The two aspects (calm and storm) are not necessarily conflicting and will ultimately lead to a state of equilibrium. The world described by the novel is pre-moral, and the drives of the main characters seem to reach beyond their death and strive for transcendence. (Early Victorian Novelists, Lord David Cecil, 1934) A restless force, represented by C and H, which continually pushes against a framework of religion, propriety, social expectations. The novel represents a clash of social classes and economic...
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