Contents introduction The role of critical realism in english literature of 19 century

An Extract from "Jane Eyre"
Iresisted all the way: a new thing for me, and a circumstance which greatly strengthened the bad opinion Bessie and Miss Abbot were disposed to entertain of me. The fact is, I was a trifle beside myself; or rather out of myself, as the French would say: I was conscious that a moment's mutiny¹ had already rendered me liable open rebellion against authority to strange penalties¹, and, like any other rebel slave, I felt re­solved, in my desperation, to go all lengths.
"Hold her arms, Miss Abbot: she's like a mad cat."
"For shame! for shame!" cried the lady's-maid. "What shocking conduct, Miss Eyre, to strike a young gentleman, your benefac­tress's son! your young master!"
"Master! How is he my master? Am I a servant?"
"No; you are less than a servant, for you do nothing for your keep. There, sit down and think over your wickedness."
They had got me by this into the apartment indicated by Mrs. Reed, and had thrust me upon a stool: my impulse was to rise from it like a spring; their two pair of hands arrested me in­stantly.
"If you don't sit still, you must be tied down," said Bessie. "Miss Abbot, lend "me your garters; she would break mine directly."
Miss Abbot turned to divest a stout leg of the necessary liga­ture². This preparation for bonds, and the additional ignominy³ it inferred⁴, took a little of the excitement out of me.
"Don't take them off," I cried; "I will not stir."
In guarantee whereof, I attached myself to my seat by my hands.
"Mind you don't," said Bessie; and she had ascertained that I was really subsiding, she loosened her hold of me; then she and Miss Abbot stood with folded arms, looking darkly and doubt­fully on my face, as incredulous of my sanity.
"She never did so before," at last said Bessie, turning to the abigail⁵.
"But it was always in her," "was the reply, "I've told Missis often my opinion about the child, and Missis agreed with me. She's an underhand little thing: I never saw a girl of her age with so much cover⁶."
Bessie answered not; but ere⁷ long, addressing me, she said, —
"You ought to be aware, Miss, that you are under obligations to Mrs. Reed: she keeps you: if she were to turn you off, you would have to go to the poorhouse."
I had nothing to say to these words: they were not new to me — my very first recollections of existence included hints of the same kind. This reproach of my dependence had become a vague sing­song in my ear: very painful and crushing, but only half intelligible. Miss Abbot joined in, ¹ penalty fpenalti] — punishment for breaking- a law or rule
² a thing that ties up
³ dishonour
⁴ implied, suggested
⁵ a maid-servant
⁶ pretence; disguise
⁷ before
"And you ought not to think yourself on an equality with the Missis Reed and Master Reed, because Missis kindly allows you to be brought up with them. They will have a great deal of money, and you will have none: it is your 'place to be humble, and to try to make yourself agreeable to them."
"What we tell you is for your good," added Bessie, in no harsh voice; "you should try to be useful and pleasant, then, perhaps, you would have a home here; but if you become passionate and rude, Missis will send you away, I am sure."
"Wuthering Heights" (1847). Emily Bronte has only one novel, "Wuthering Heights" — her prose-poem. She did not live to find herself famous. Now the book is regarded as one of the most remarkable novels in English literature. The book is strange. On the one hand the plot is full of mystery. On the other hand the novel is very concrete: the time of the action, the land­scape, geography and climate are realistic. The author of the book makes no distinction between the supernatural and the natural. Both work together to serve her artistic purpose. The mystery and the supernatural are used as romantic elements in the original study of violent characters.[4]
E. Bronte's characters and actions may seem incredible but they convince us. They are unique, and their violent emotions are in­volved with the Yorkshire moors where the action takes place. The moors are varying to suit the changing moods of the story, and they are beautifully described in all seasons.
As we begin to read the novel the action is already approaching its end. We see the drama of the occupants of Wuthering Heights and Thrushcross ['OrAjkras] Park through the eyes of Lockwood and Nelly Dean. Lockwood has rented Thrushcross Park from Heathcliff ['hi:8klif], Nelly is an old family servant. The other main characters are:
The Earnshaws
the Unions
living at Wuthering Heights
The action is centred round Heathcliff. Nelly tells* his story of love and revenge to Mr. Lockwood, who in his turn addresses the reader. Mr. Lockwood is also an eyewitness of some events. Within Nelly's account of the fates of the Earnshaws and the Lin-tons there are incorporated other narratives in the first person, those of Catherine, Heathcliff, Isabella, Edgar and others.
The action of the novel may be divided into two parts. One part concerns the fates of Hindley, Catherine, Heathcliff, Isabella and Edgar. The other is the story of their children. Nelly and Heathcliff are the binding link between them.
Nelly remembers how Mr. Earnshaw brought Heathcliff home. He had picked him up in the streets of Liverpool. Nobody knew to whom the baby belonged. He was "dark almost as if it came from the devil". Heathcliff became the favourite of Mr. Earnshaw, though he himself had two children, Hindley and Catherine. Catherine was a'beautiful golden-haired girl, Heathcliff looked like a gipsy. Both were violent children, children of rock, heath and tempest. After Mr. Earnshaw's death Hindley ill-treated his foster-brother be­cause his father had loved film more than his own children. The two boys became deadly enemies. When Catherine and Heathcliff grew up they fell in love. Their love was strange. They were so alike that they seemed one soul. As Heathcliff was poor, Catherine married the rich Edgar Linton. That drove Heathcliff to be "hell-like in heart and misery". He felt that life had turned against him, he was a victim of social injustice. Heathcliff left the district and after some time returned rich. He decided to revenge himself on the Lintons and the Earnshaws, to win their property and to degrade them as he himself had been degraded.
The second part of the action shows Heathcliff as the revenger. To revenge himself on the Lintons he married Isabella and made her life a torture. Catherine died leaving a daughter Cathy. Heath­cliff was in despair. He went to the churchyard and began to undig her grave. He wanted to see her once more. Suddenly he seemed to feel Catherine breathing at his ear. A sense of relief flew through his every limb. Catherine was with him on the earth, not in the cold grave. Her imaginary presence remained with him for eigh­teen years. In every object he was surrounded with her image. Isabella ran away and gave birth to a boy whom she called Linton. After her death Heathcliff took Linton to Wuthering Heights. He did not care for the sickly and weak child but when the boy grew up Heathcliff forced young Cathy to marry him, now a cowardly egoist and capricious tyrant. Soon Linton died, and Heathcliff got the property of his son and his daughter-in-law, therefore Cathy is penniless now. Her life at Wuthering Heights is terrible, but she does not give in. Hindley's son, Hareton, becomes her friend and defends her. In order to revenge himself on Hindley Heath­cliff has treated Hareton so badly that now he is almost a brute. Cathy's love for him rescues the young man. At the end of thebook we see Cathy teaching Hareton his letters, good manners and correct English. They both are not afraid of Heathcliff any more. Soon Heathcliff dies. He is buried beside Catherine. At last he is joined with her. But they have no peace. People say they have seen them both "walk" the earth at night.