Ii. Main part wuthering Heights Romance Case Basic facts of life and work

Basic facts of life and work
The concept of “family secret” existing in literary studies Bronte ”deals with a number of mysteries in the life of the family of the provincial priest Patrick Bronte. First of all, this is a phenomenonThe "collective" literary talent of the Brontë sisters. Secondly, it is the family's reclusive lifestyle that has given rise tomany versions regarding the nature of the father of the Bronte family and the nature of the relationship between family members. OnlyCharlotte Brontë as opposed to her younger sisters besideseducated at home in a women's boarding house in Brussels, where she experienced an unrequited feeling of loveto a married man, which greatly influenced the nature of her work. Only she lived to almost forty years of age (Anne and Emily died at 29 and 30 years, respectively),only she had the experience of marriage, though a very short one,since she died without having lived in marriage for a year and not having time to become a mother.
The sisters began their career in literature as poetesses:in 1846 they published a collection of poems under the pseudonym of the Bell brothers (Carrera, Acton and Ellis). Usingmale pseudonym writers to publish their the first book testifies to the difficulties that accompanied the entry of women into Victorian literature.Victorian culture has been known to dictate to womenthe only sphere of realization is the family, while cultivatingthe ideal of a woman as an "angel in the house." No wonder the famous English poet Robert Southey, to whom Charlotte Brontë turned in the hope of a professional review of her poems, anxiously suggested that literary studiesdistract her from her female duties, "harm" her "Heart and mind." “Literature cannot be the lot of a woman and it shouldn't be, ”he wrote.In 1847, under the same male pseudonym, Charlotte Brontë publishes her most famous novel, Jen Eyre ". In the same year, the novels of her sisters were published: Wuthering Heights (the only novel by Emily Bronte) and AgnesGray ”(first novel by Anne Brontë).Charlotte Brontë's novel "Jen Eyre" certainly draws on a romantic tradition: the writer practicesmelodramatic ways of resolving conflicts, romantic symbolism, builds the image of the main character (Mr.Rochester) in accordance with the Byronic type of a lonelya suffering hero who despises social convention.
That being said, the novel is deeply innovative.a work that takes him beyond the framework of romantic aesthetics.First, the novel contains sharp criticism of the wholea number of social institutions of the Victorian era. She expresses herself, for example, in episodes describing Jen's stayEyre at Lowood School for Poor Orphans. Head teacher,Mr. Brocklehurst, depicted as a carrier of the pedagogical
ideas, within the framework of which the goal of education is associated with the formation of a person humble before the law: both the divine law and the social law. The embodiment of this idea turns into the most outright cruelty towards the pupils. Here's a scene that opens with reproachesMr. Brocklehurst, addressed to the teacher, who ordered to give the students a second breakfast instead of the spoiled one.“- Allow me, madam, to remark to you the following: you understand that my goal in raising these girls is toinstill in them endurance, patience and the ability to self-denial.If they got a little disappointment in the form of a spoiled breakfast - some salted or not salted dish, then thisthe ordeal should not have been mitigated by offering them moredelicious food; in doing so, you are simply comforting their flesh, which means you fundamentally distort the main purpose of this charitable institution; on the contrary, any such case gives us another reason for to strengthen the spirit of the pupils, to teach them to courageously endureearthly hardships. A short speech would be very appropriate; experienced
the educator would use this occasion to mention the sufferings of the early Christians, the torture they endured martyrs, and, finally, about the call of our Lord Jesus Christ, who invited his disciples to take up their cross and follow it; about his instructions that man does not live by one bread, but by every word,
coming from the mouth of God; about his divine consolation: “If you
if you thirst or suffer in my name, it will be good for you. " Oh madam,
putting bread and cheese instead of burnt oatmeal in the mouth of these children, you,maybe they fed their mortal flesh, but did not think aboutwhat hunger have you subjected their immortal souls to!Mr Brocklehurst paused again, apparently agitated.own eloquence. When he spoke, Miss Temple lowered gaze; now she was looking straight ahead, and her face, and usually something pale, gradually became the same cold and motionless,like marble, and her mouth was compressed so that, it seemed, only the sculptor's chisel could open it.Meanwhile, Mr. Brocklehurst, standing by the fireplace with his hands folded behind his back, gazed majestically at the pupils.Suddenly he blinked, as if something had hit him in the eye, and, turning,said more quickly than he had said before:- Miss Temple, Miss Temple, what is this girl with curly hair? Red hair, madam, and curly, all curly head! -And, raising his cane, he pointed to the horrified pupil, and his hand was trembling. “This is Julia Severn,” said Miss Temple very calmly.
- Julia Severn or whoever else, madam, but by what right does she allow herself to go around disheveled? How dare she so boldly break all the rules and regulations of this house, this pious institution? She has a whole hat of curls on her head!“Julia’s hair is naturally curly,” said Miss Temple. even quieter.
- From nature! But we cannot obey nature - I want that these girls become children of Mercy; and then why such cosma? I repeated endlessly my demand that the hair be combed modestly and smoothly. Miss Temple, this girl needs a haircut. Tomorrow you will have a hairdresser! I see that other girls have hair longer than it should be - that tall one over there; tell her let him turn the back of his head. Have the entire first class stand up and face the wall. Miss Temple ran her handkerchief over her lips, Miss Temple ran her handkerchief over her lips, as if erasing an involuntary smile. However, she gave the order, and the girls, finally realizing what was required of them, carried it out.
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Doody, Margaret Anne (1997) [1996]. The True Story of the Novel. New Brunswick, New Jersey: Rutgers University Press.
I leaned back slightly back, and I could see from my desk the looks and grimaces with which they accompanied this maneuver. It is a pity that Mr. Brocklehurst did not see them: perhaps he would then have realized that, no matter how much he worked above the outer shell, the inner world of girls was infinitely far from him.
Secondly, the unconditional originality of the novel is that that the narration in it is conducted on behalf of the heroine herself. Before Charlotte Brontë in English literature, the subject of the story was only a man, and the story in the first person was built only as the story of a man. This tradition of Charlotte Brontë obeys in his very first novel, The Teacher, where she makes the hero of her own autobiographical story (the history of studying and teaching in a Brussels boarding house) young man, building a story from his faces. In Jen Eyre, the writer deviates from this canon. Moreover, a novel in which both the narrator and the main person is a young girl, does not at all turn into a simple a description of a complex female destiny. This is the story of a woman's self-determination within a specific cultural era - an era Victorian, presenting to a woman, as we said above, very specific requirements. And this is history, which absorbed, in the words of V.S.Rabinovich, and the experience
humility, and experience of resistance.
The first episodes of Jen Eyre's story are filed under the sign of resistance: the heroine rebels against a humiliating situation a poor relative in Mrs. Reed's aunt's house; deep internal resistance from her is a hypocritical moral Brocklehurst, which condemns Lowood's pupils to hunger, humiliation, illness and death; she protests against the predetermination of her destiny and leaves Lowood School in the hope worthy of self-realization; she is outraged by the neglect of Victorian culture for the desire of a woman to realize herself according to their inclinations. (By the way, Charlotte Brontë is considered the first writer to discover feminist issues in literature.) But here's the most mysterious episode in Jen Eyre's story: the episode the heroine's escape from Thornfield, the estate where she served as a governess and from whose owner, Mr.Rochester, received marriage proposal. Upon learning that Rochester is married to a woman who has long fallen into a violent insanity, the heroine leaves her lover, despite his desperate pleas stay and despise convention. The heroine's act, on the one hand, is, of course, resistance to a possible the fate of the "kept woman"; but on the other hand, this act also means obeying the law: the heroine does not consider it possible to go
against the law, sacrificing feeling in the name of external duty:
“It was a real torture. It seemed to me that a red-hot iron hand was squeezing my heart. A terrible minute full of strife darkness and fire! Not a single human being that has ever lived on earth, could not wish for a stronger love than the one that Igave, and the one who loved me so, I just idolized. And I was forced to give up my love and my idol. Only one a terrible word sounded in my ears, reminding me of my agonizing duty: "to run!" I will not break the law given by God and sanctified by man. I will faithful to the principles that she followed when she was in her right mind ...Rules and laws are not for those moments when there is no temptation,they are just for people like now, when soul and body rebel against their severity; but no matter how hard they are, I will not break them. If I was for their convenience violated them, what would be their price? Meanwhile, their meaning is everlasting - I have always believed in it. "
However, later the heroine returns to her lover, and she makes the decision to return without suspecting that Rochester's insane wife is dead and now marriage is possible. The return is the result of internal changes that the heroine experiences as a result of reflections on the model of marriage that the priest St. John offers her.This model is the exact opposite of the relationship model that Rochester spoke about. Rochester insisted that happiness between lovers is achievable and despite the duty to by law; Saint John considers an alliance quite justified, based only on service to duty, in spite of love. Offering Jen to marry him and go with him to India for missionary work, Saint John unwittingly allows the heroine understand that this kind of path is a betrayal of oneself:
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Companion to English Literature. Oxford: Oxford University.
Hagan, Sandra; Wells, Juliette (2008). The Brontės in the World of the Arts. Ashgate
“I am able to do what he requires of me; I can't help but agree with that, I told myself. - But I feel that I will not live long under rays of the Indian sun. And then what? But he doesn't care. When my death hour will come, he will humbly and meekly return me to God, who handed me over to him. All this is quite clear to me. Leaving England, I will leave my beloved, but deserted country for me - Mr. Rochester is not here; and even if he was here, what is it could matter to me? I now have to live without him; what could be more senseless and cowardly than dragging out your days in the hope of some unrealizable change in my destiny that would connect me with him! Without a doubt (as Saint John once said) I have to look for new interests in life to replace the lost ones; and isn't the case that he now offers me is not the most worthy of all,what kind of person can choose, and God - bless? Will it not fill that emptiness with noble cares and lofty aspirations,which remained after broken attachments and destroyed hopes? Apparently, I should answer "yes" - and yet I shudder at the thought of it. Alas! If I go after Saint John, I o t -R e to u s s o t k and to o y - that is a part of it; if i go to India, I will doom myself to an untimely death. And what will happen to me until then? Oh, I know perfectly well. I can clearly see it. Laboring in the sweat of my brow to please Saint John, I will surpass all of his most daring expectations. If I go with him, if I make the sacrifice that he demands of me, this sacrifice will be complete: I am altar with the middle, all my strength, all myself (our detente .-O. T.). Saint John will never love me, but he will be pleased with me. He will find in me an energy that he did not even suspect, a source of strength, which I did not even know about. Yes, I can carry the same heavy labor, like him, and just as meekly. So, I could agree to his proposal, if not for one condition, terrible condition: he wants me to become his wife, and love to me he has no more than that severe giant cliff, from which a frothy stream falls into the rapids. He appreciates me like a warrior is a good weapon, and nothing more. Until he is my husband, it is not enough for me touches; but can I allow him to carry out his calculations, coolly fulfilled his plans, passing with me through the marriage
ceremony? Can I accept a wedding ring from him and endure all the semblance of love (he will no doubt obey it meticulously), knowing that the most basic thing is missing? How does it feel to me will be aware that any caress is a sacrifice made from principle? No, such martyrdom would be monstrous. I’m for nothing
I will not go for it. " Departure from external representation of debt and recognition of debt before the feeling and before the beloved become the key to the happy ending of Jen Eyre's story.
So, the originality of the novel by Charlotte Brontë in the first turn is to create a feminine character, completely unfamiliar to Victorian literature: this is a character for which the main value is personal dignity and loyalty to herself, to her own ideas about what should be done. Emily Bronte's novel Wuthering Heights is distinguished not by the originality of the characters written out (they are stereotypically romantic), but by the deep originality of the plot solution. To that the demonic transformation of Heathcliff, who took a vow of vengeful reprisal against everyone who was, willingly or unwillingly, involved in the sphere of his tragedy.
Here is a scene in which Heathcliff bids farewell to the dying Catherine:
"- You let me know how cruel you were – cruel and deceitful. Why did you neglect me? Why did you betray your own heart, Katie? I have no words of comfort. You deserve it. You killed yourself. Yes, you can kiss me, and cry, and extort kisses and tears from me: in them is your death ... your sentence. You
loved me - so what right did you have to leave me? What a right - answer! For the sake of your pathetic inclination towards Linton? .. When disasters, and humiliation, and death - all that God and the devil can send - nothing could tear us apart, you did it yourself of your own free will.
I did not break your heart - you broke it; and, having smashed it, smashed mine too.So much the worse for me that I'm strong. How can I live? What will it be life when you ... Oh my God! Would you like to live when your soul is in the grave? - Leave me! Leave it! - sobbed Catherine. - If I have done wrong,
I'm dying for this. Enough! You left me too, but I won't become you reproach. I forgave. Forgive you too! - It is difficult to forgive, and to look into these eyes, and to hold these melted hands, ”he replied. - Kiss me again. And hide from me
your eyes! I forgive the evil you have done to me. I love my killer ... "The first part of the plot described by us, which is a story of betrayal (by Katherine) and rebellion (byHeathcliff), in the novel is balanced by the second part devoted to stories of redemption and humility. This part of the plot is connected with the story of the daughter of Catherine and Linton, who inherited her name mother, and the curse of her rejected lover.
Catherine Linton goes the opposite way maternal path. If she, nee Ernsho, imagines alliance with Heathcliff and in dreams takes his name, but becomes Catherine Linton, then her daughter, née Linton, through Forced Marriage to Heathcliff's Son Becomes Cat rin Heathcliff, but after the death of her husband she marries HaretonErnsho, returning to himself both his mother's estate and her name. Having lived through suffering and hell, but having redeemed the ancestral guilt of the elder Katherine,"Betrayed her heart", she restores the original state of affairs, disturbed by her mother's selfishness and Heathcliff's rebellion.
She does not push away the humiliated Hareton (like her mother did to Heathcliff), but goes to meet her feelingsand restores the dignity of his beloved, resulting in happiness: “Friendship <…> quickly grew stronger; sometimes there were short disagreements. Ernsho could not at first order become a cultured person, and my young lady was neither a philosopher nor a model patience. But since both of them had all the forces of the soul directed to one and the same goal - because one loved and wanted to respect her beloved, and the other loved and wanted to be respected - they eventually achieved their goal. " The culprits also acquire a harmonious result in the novel's finale. tragedies: Heathcliff and Katherine Sr. Convinced of the failure of revenge, Heathcliff voluntarily accepts death and for on the threshold of life finds a mystical union with Catherine, to whom he always strove. This union is not at all a reward for love, rather, it should be seen as a reward for refusing to take revenge. Only by accepting defeat at
the heartfelt friendship of Hareton and Catherine Jr., Heathcliff,finds the opportunity to reunite with his beloved, while how pleas to her ghost during the violent rebellion remained unanswered. Thus, Emily Bronte does not have a romantic idealization of Katherine and Heathcliff's love affair. Obsession
these heroes, understood by them as a natural kinship of souls, plunges them into a cycle of deeds requiring atonement (Catherine's betrayal, Heathcliff's curse and vengeance). Both heroes find this redemption in the finale of the novel: Heathcliff - in humility, Katherine - in how her daughter builds her life, in love intuitively relying not on a natural kinship of souls, but on a spiritual labor, labor of restoration and education of the beloved.the demonic transformation of Heathcliff, who took a vow of vengeful reprisal against everyone who was, willingly or unwillingly, involved in the sphere of his tragedy. Here is a scene in which Heathcliff bids farewell to the dying Catherine:
"- You let me know how cruel you were – cruel and deceitful. Why did you neglect me? Why did you betray your own heart, Katie? I have no words of comfort. You deserve it. You killed yourself. Yes, you can kiss me, and cry, and extort kisses and tears from me: in them is your death ... your sentence. You
loved me - so what right did you have to leave me? What a right - answer! For the sake of your miserable inclination for Linton? .. When disasters, and humiliation, and death - all that God and the devil can send - nothing could tear us apart, you did it yourself of your own free will. I did not break your heart - you broke it; and, having smashed it, smashed mine too. So much the worse for me that I'm strong the same "Wuthering Heights" is a philosophical work, and it is the plot construction of the novel that is the main a way of expressing the author's philosophy.The plot of the novel consists of two parts. The first part is formed by the story of betrayal: Catherine Earnshaw, bewitched by the image life of a wealthy Linton family, refuses to join his fate with Heathcliff - a man whose origin is unknown, the situation in the Earnshaw family is humiliating, and the prospects foggy. However, in her thoughts, Catherine identifies with him:“I am Heathcliff”, “he is more me than myself. From whate verour souls were created, his soul and mine are one. " But, despite the natural kinship of souls, the heroine, according to Heathcliff, “betrays her heart” by marrying Linton and leaving Wuthering Heights.

The result of betrayal becomes, with one hand, the illness, madness and death of Catherine, and on the other hand, ... How can I live? What will it be life when you ... Oh my God! Would you like to live when your soul is in the grave? - Leave me! Leave it! - sobbed Catherine. - If I have done wrong,I'm dying for this. Enough! You left me too, but I won't become you reproach. I forgave. Forgive you too!- It is difficult to forgive, and to look into these eyes, and to hold these melted hands, ”he replied. - Kiss me again. And hide from me

your eyes! I forgive the evil you have done to me. I love my killer ... "
The first part of the plot described by us, which is a story of betrayal (by Katherine) and rebellion (by Heathcliff), in the novel is balanced by the second part devoted to stories of redemption and humility. This part of the plot is connected with the story of the daughter of Catherine and Linton, who inherited her name mother, and the curse of her rejected lover. Catherine Linton goes the opposite way maternal path. If she, nee Ernsho, imagines alliance with Heathcliff and in dreams takes his name, but becomes Catherine Linton, then her daughter, née Linton, through Forced Marriage to Heathcliff's Son Becomes Catrin Heathcliff, but after the death of her husband she marries Hareton Ernsho, returning to himself both his mother's estate and her name. Having lived through suffering and hell, but having redeemed the ancestral guilt of the elder Katherine,
"Betrayed her heart", she restores the original state of affairs, disturbed by her mother's selfishness and Heathcliff's rebellion. She does not push away the humiliated Hareton (like her mother did to Heathcliff), but goes to meet her feelings and restores the dignity of his beloved, resulting in happiness: “Friendship <…> quickly grew stronger; sometimes there were short disagreements. Ernsho could not at first order become a cultured person, and my young lady was neither a philosopher nor a model patience. But since both of them had all the forces of the soul directed to one and the same goal - because one loved and wanted to respect her beloved, and the other loved and wanted to be respected - they eventually achieved their goal. " The culprits also acquire a harmonious result in the novel's finale. tragedies: Heathcliff and Katherine Sr. Convinced of the failure of revenge, Heathcliff voluntarily accepts death and for
on the threshold of life finds a mystical union with Catherine, to whom
he always strove. This union is not at all a reward for love, rather, it should be seen as a reward for refusing to take revenge. Only by accepting defeat at
the heartfelt friendship of Hareton and Catherine Jr., Heathcliff finds the opportunity to reunite with his beloved, while how pleas to her ghost during the violent rebellion remained unanswered.
Thus, Emily Bronte does not have a romantic idealization of Katherine and Heathcliff's love affair. Obsession these heroes, understood by them as a natural kinship of souls, plunges them into a cycle of deeds requiring atonement (Catherine's betrayal, Heathcliff's curse and vengeance). Both heroes find this redemption in the finale of the novel: Heathcliff - in humility, Katherine - in how her daughter builds her life, in love intuitively relying not on a natural kinship of souls, but on a spiritual labor, labor of restoration and education of the beloved. Let's return to the question of the philosophical content of the novel. In the research literature, the thought is often encountered that that it is formed by a romantic belief in the possibility of a person to fulfill your passion, no matter what trials are accompanied by the embodiment of this intention and no matter what obstacles it faces. It seems that this interpretation supported by important facts about the circumstances of the death of Emily Brontë, which we know from the epistolary testimony of Charlotte Brontë. As Charlotte writes, Emily tried to embody in her life the image of a titanic hero, who, despising earthly laws, challenges them and achieves the implementation of his superhuman design. When she dies, she behaves according to this demonic roles, roles of Heathcliff5: refuses medical care, care and care of the sisters, as she believes that only from her victory over death depends on will. However, close attention to the "redemptive" part plot of "Wuthering Heights" allows you to connect the philosophical the content of the novel is not with a romantic aestheticization of confronting all obstacles, but, on the contrary, with the statement of refusal from rebellion as the only way to fulfill desire6 Another opposition underlying the philosophical content of the novel, besides the opposition of "rebellion-humility", is the opposition "nature-culture", so important to Victorian consciousness. If the natural kinship of the older heroes (Heathcliff and Catherine Earnshaw) is disastrous, then the mental efforts of the younger heroes (Hareton and Catherine) in a situation of initial absence of natural inclination, it becomes a guarantee of a happy resolution of a tragic situation.
This romance is certainly even more romantic.aesthetics, rather than the novel "Jen Eyre", although the presence of social issues in it, a naturalistic depiction of the situation life, penetration into the deep layers of human psychology allow us to talk about the presence of a realistic principle in the narrative. So, the novels we have considered, created within the framework of literature of English realism, in terms of content, is an artistic reflection on the most important establishments and values of Victorian culture (the cult of tradition, law and duty), as well as regarding the forms of behavior and worldview that have developed in its bosom (snobbery, utilitarianism, rebellion, humility).