Analysis Of The 491st Sin In Wuthering Heights

The author’s white, female characters act as an example for her white, female readers to model themselves after. This argument is more than go out and vote or start protests, because those methods of change are not a reasonable expectation for a group of people whose role is to be polite, hospitable, and demure. Thus, the methods the women are expected to take are indirect by being more subtle and persuasive instead of direct and confrontational. Subtlety and persuasion are demonstrated by the female characters, Mrs. Emily Shelby and Mrs. Mary Bird. Mrs. Shelby used her subtlety to throw off the plans of the slave trader and allowing her slaves to escape. She slyly suggests to her slaves take their time in collecting the horses, before then offering her guest dinner and pushing back the time for eating, because the meal is supposedly not suitable enough for guests. Mrs. Bird discusses her opinion on slavery and fugitive slave laws with her husband in a very womanly manner, respectful and persuasive, in a successful attempt to convince him to take an abolitionist stance in his job as senator. Both Mrs. Shelby and Mrs. Bird are able to receive their desired results by working within their role as women. Even though they are not taking a direct action of fighting slavery, they are still making a difference just through different means. These fictional women are embracing their hidden power of their gender and acting as examples for the real life

Hareton is introduced at an early age to domestic abuse, both physical and mental, that leads him to distort his mind on how he views life and who he has to respect. From his birth, Hindley’s father detests him and wishes to avoid all contact with his son. The death of Hareton’s mother upon his birth greatly troubles his father Hindley who

Hareton is thus reduced to an inhuman “it.” It is not surprising, then, that Hareton is afraid of his father, but Hindley is angered because this reminds him of his failure as a father. Declaring that Hareton should be “cropped” like a fierce dog, Hindley drops his son over the railing of a staircase when the latter shrinks away from him. He is unperturbed when Nelly exclaims: “He hates you – they all hate you – that’s the truth! A happy family you have, and a pretty state you’re come to!” (77). Hindley does not seem to comprehend that physical abuse leads not to love but to fear and hatred – and ultimately, alienation from his family.

Through self-centered and narcissistic characters, Emily Bronte’s classic novel, “Wuthering Heights” illustrates a deliberate and poetic understanding of what greed is. Encouraged by love, fear, and revenge, Catherine Earnshaw, Heathcliff, and Linton Heathcliff all commit a sin called selfishness.

As a woman, the narrator must be protected and controlled and kept away from harm. This seemed to be the natural mindset in the 19th century, that women need to have guidance in what they do, what decisions they make, and what they say. John calls her a “little goose”(95) and his “little girl”(236), referring her to a child, someone who needs special attention and control. His need for control over her is proven when she admits that her husband is “careful and loving and hardly lets me stir without special direction”(49). John has mentally restrained the speaker’s mind, she is forced to hide her anxieties, fears and be submissive, to preserve the happiness of their marriage. When the narrator attempts to speak up, she is bogged down and made guilty of her actions. Her husband makes her feel guilty for asking, he says, “‘I beg of you, for my sake and for our child’s sake, as well as your own, that you will never for one instant let that idea enter your mind!’”(225-226). By making her feel guilty for her illness, John has trapped her mentally from speaking up about it, convincing her that she must be more careful about her actions. Men often impose the hardships placed upon women during this era. They are often the people reassuring them of their “womanly” duties, and guiding them

The narrator of Jamaica Kincaid’s Girl, who is implied to be a mother, reveals much of her worldview through the story’s dialogue. In this dialogue, she both instructs and scolds her a girl who is implied to be her daughter. The instructions that the mother imparts to her daughter in Girl offer a deep insight into what the mother believes is good for her. In teaching these lessons, the mother is preparing her daughter for what she believes is her daughter’s future. Thus, these lessons are setting the expectations that she has for her daughter within her world.

In comparison to, Mrs. Freeman who is the complete opposite of Mrs. Hopewell whom she has worked for, for four years. O’connor does not show her point of view in this short story only what Mrs. Hopewell and Hulga describe her to be. She is described as very outspoken on whatever he thoughts are. She is very familiar and used to the unexpected due to her daughter Carramaes early marriage and pregnancy at the age of fifteen.

In A Doll House, Nora finds herself subordinate to her husband as well as the rules of society. Torvald forbids her from the consumption of macarons, bestows on her an allowance as if she were a child, persuades her to do as he wishes, dance like this, not like that, and she like a “good little lark” obeys his most every will. Her act of courage and independence, illegally taking out a loan to save his life, is seen as wrong in the eyes of society, while she sees it as necessary and forgivable; it is what a good wife should do for her husband.

Along with other features, the actions of a character play a significant role in shaping their personality as it provides the audience with a clear idea of how the character thinks. The actions Ratched takes has a more psychological approach, rather than physical. For example, she manipulates the patients into revealing theirs, and inmates’ secrets by “merely insinuating”, simulating reactions from the patients. During the group therapy, which McMurphy refers to as “a peckin’ party”, he notes that Ratched “pecks [the] first peck” which demonstrates McMurphy’s understanding of the way Ratched works, which could also be understood that he also understands how society functions. However, despite it being clear to the readers that Ratched is manipulative, and controlling, the patients, specifically Harding believes the group therapy is “done solely for therapeutic reasons”. This shows the extent to which Ratched as power over Harding, as he quickly defends her, bringing up the fact that she is a “highly regarded psychiatric nurse with twenty years in the field”. However, it also shows how Bromden may be treating Ratched unfairly, as he fails to attempt to understand from Ratched’s perspective, like Harding. On the other hand, it can be understood that Harding is easily manipulated, and therefore cannot be trusted.

Human beings can be truly deranged creatures. Often times they are seen as elevating and putting themselves on a pedestal. They will treat people who are not the same as them as they are garbage and worthless. Although it is not their fault to simply put it, it is human nature. More specifically the ugliness of human nature. The complex characters in Wuthering Heights are guilty of this. Their circumstances drive them to do unthinkable things which unfortunately have drastic outcomes. Emily Bronte’s Wuthering Heights is a beautifully written novel that shows the ugliness of human nature as seen through the depiction of toxic relationships, displaying revenge and vengeance in the differentiation of social class.

As Lockwood lays to rest in the third chapter of Emily Brontë’s Wuthering Heights, he is wrought with a dream of a fictional Reverend Jabez Branderham and his surplus of sins. The dream almost reads as incomprehensible at first glance, especially when wedged between Lockwood’s visions of Catherine Earnshaw, but the dream holds clout in the overarching tale of Wuthering Heights, especially when taking its moral implications into consideration. To implement a biblical allusion in one’s text requires the understanding that, no matter what one intends to do with the material, it will remain morally-charged nonetheless. The material can be contorted or figured into a new message altogether, but some moral proposition will certainly remain. In the case of Lockwood’s dream, Brontë’s allusion to Peter and his interest in forgiveness are contorted to address what happens when the threshold of forgiveness is surpassed. Furthermore, the dream does not grapple with the power of forgiveness, but with the level of desperate exasperation one reaches after prolonged anguish. It is through the contortion of such a biblical allusion that Lockwood is met with what is essentially a warning against staying at either Thrushcross Grange or Wuthering Heights—a warning which he ultimately disregards, thus leading to his exposure to the litany of terrors which exist in the story of Wuthering Heights.

Martha Nussbaum describes the romantic ascent of various characters in Wuthering Heights through a philosophical Christian view. She begins by describing Catherine as a lost soul searching for heaven, while in reality she longs for the love of Heathcliff. Nussbaum continues by comparing Heathcliff as the opposition of the ascent from which the Linton’s hold sacred within their Christian beliefs. Nussbaum makes use of the notion that the Christian belief in Wuthering Heights is both degenerate and way to exclude social classes.

Through critical reflection, both girls and their feelings toward their mother’s, are mirrored through Maggie’s character. Twyla introduces Maggie as being short, dressing like a kid and “sandy-colored.” (240) Maggie did not speak and

The mere fact that Nora's well-intentioned action is considered illegal reflects woman's subordinate position in society; but it is her actions that provide the insight to this position. It can be suggested that women have the power to choose which rules to follow at home, but not in the business world, thus again indicating her subordinateness.

The relationship between Heathcliff and Hindley revealed and developed the abusive nature of Heathcliff. Heathcliff was taken in as a young boy into a wealthy family that had two children. Ever since the day he was brought home the eldest son, Hindley, resented how the father favored him more. For example, Heathcliff threatened to tell their father if Hindley did not let him have his horse. This one childish threat had created the foundation of the resentment between the two men. Heathcliff threatened to tell their father that Hindley was making him feel unwelcome and abused emotionally, Hindley decided to not see if Heathcliff was going to follow through with the threat therefore gave him the horse. Later on through life, once the father dies, Hindley decides to take his absence as an excuse to start really physically abusing Heathcliff. He would beat him and punch him without thought of how this would transfer into the rest of his life. Heathcliff was also verbally assaulted by Hindley which is a twist on the traditional sense of cruelty. Hindley is demeaning towards Heathcliff and calls him a slave and make sure that he know that he is not equal with himself or his sister Catherine. This point planted the seed of doubt and not being good enough for the rest of his life. This continual mental assault forged the mindset of little Heathcliff to how he would exact revenge on Hindley for all of his wrongdoings. This cruelty from Hindley was due to the favoritism that Heathcliff received as a child, the death of his father, the death of his wife, and the constant reminder of his wife through his son. The constant cruelty is the motive for Heathcliff's actions once he returns to the Heights. Through baiting Hindley, in his own personal torment from his wife's passing, all the money and possessions are gambled away with Heathcliff as the new owner. Wuthering Heights itself