The Bronte Sisters Jane Eyre And Wuthering — страница 2

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251). Cecil describes her sister s methods similarly: Charlotte Bronte s plots are full of sinister secrets and inexplicable happenings. The lurid light of her vision does invest these with a weirdness beyond that of ordinary mundane horror (Cecil 66). The combined atmosphere of both novels seems charged with suppressed electricity and bound in with blackness of tempest and desolation (Tucker 137). An environment of mystery and supernatural happenings constitute the final ingredients typical of a Gothic romance. Charlotte Bronte s power of creating a scene directly relates to her power of suggesting the eerie although she never actually brings in the supernatural (Cecil 66). Gweneth Dunleavy describes much of the supernatural in Emily s Wuthering Heights as the lack of

established borders between life and death because the main characters communicate as ghosts and in dreams through the veil of time, in a setting that simultaneously assumes supernatural qualities (250). The author also heightens the experience of supernatural imagery with descriptions of characters as angels and devils living in heaven and hell ( Heights 2). The romantic tendency to invent and delight in monsters, the love of violence in speech and action, and the abnormal in situation–of all these are abundant examples in Jane Eyre and Wuthering Heights (Draper 419). When analyzing characterization in Jane Eyre and Wuthering Heights, many other comparisons can be made since all the main characters of both stories are placed into similar typecasts and circumstances concerning

theme. The central figure of the authors themes involve a strong-willed, passionate young heroine who must decide between the wild, unpredictable man whom she loves, or the honest, Christian gentleman who would be the most suitable for matrimony. Such a description perfectly embodies Charlotte Bronte s heroine, Jane Eyre, whose best recommendations are her tranquil devotion and perfect virtue (The Times 46). In 1847, G.H. Lewes describes her in his essay when he states: We never lose sight of her plainness, no effort is made to throw romance about her– no extraordinary goodness or cleverness appeals to your admiration; but you admire, you love her– love her for the strong will, honest mind, loving heart, and peculiar but fascinating person (44). Edward Rochester is the

character that opposes everything that Jane knows to be morally correct and socially acceptable. He is strong and yet weak, a very thunderbolt for strength and exploisiveness and yet a bundle of ordinary human weaknesses (Smith 55). The most that can be said for Rochester is that he truly loves and values Jane. This trait is his sole defense in his attempt to marry her while he still has a wife living under his own roof (Tucker 138). The foil to Rochester is the clergyman, St. John Rivers. He is the medium through which Charlotte represents her father, a symbol of everything she has learned to be the adequate amount of discipline and devotion required of a Christian (Draper 408). Charlotte s goal is to balance one kind of temptation with its reverse. If Rochester is all romantic

passion, urging her to give in to emotional desire, St. John Rivers is all Christian ambition, urging her to attempt a spiritual asceticism of which she knows herself incapable (Oates viii). Emily Bronte s heroine is Catherine Earnshaw. W. Somerset Maugham, English dramatist, short story writer, and novelist known best for his autobiographical novel Of Human Bondage believes that her consuming, obsessive passion differs greatly from the more conservative personality of Jane (117). Catherine vibrates with passions that fictional conventions only partly construct or gloss over. Within her exists an almost violent devotion that has a fire of independence, a spiritual energy and vivid sexual responsiveness. This is enhanced by her self-righteousness, a sense of power, sometimes

self-pity, and enviable competitiveness (Draper 69). Catherine s heart undoubtedly belongs to Heathcliff, a representative of natural man and pure passion (Abbey and Mullane 415). His appeal comes from his unwavering passion as inexplicable and terrible as it is unalterable. It is a passion that makes him and his beloved believe that the two of them are one life, one soul (Shaeffer vii). Heathcliff s rival is Edgar Linton, whom Catherine believes to be more socially inclined for marriage. Through her marriage to Edgar, she yields to that destiny, but her yielding is uneasy, her resistance tormented, and she finds her way out of it by death (Draper 425). Edgar s refinement and delicate beauty stand in stark contrast to the degraded, unkempt Heathcliff whom Catherine describes as