Essays on wuthering heights themes

Any reader of Wuthering Heights should recognize immediately that it is not the sort of novel that a gently-bred Victorian lady would be expected to write. Emily Brontë sent it to publishers under the masculine name of Ellis Bell, but even so it took many tries and many months before it was finally accepted. Its reviews were almost entirely negative: reviewers implied that the author of such a novel must be insane, obsessed with cruelty, barbaric. Emily's sister Charlotte's novel Jane Eyre was much more successful. Emily was always eager to maintain the secrecy under which the novel was published, understandably. She died soon after the publication, and Charlotte felt obliged ­- now that secrecy was no longer necessary -­ to write a preface for the novel defending her sister's character. The preface also made it clear that Currer, Ellis, and Acton Bell were, in fact, different people: some readers had speculated that Wuthering Heights was an early work by the author of Jane Eyre . It appears that Charlotte herself was uncomfortable with the more disturbing aspects of her sister's masterpiece. She said that if Emily had lived, "her mind would of itself have grown like a strong tree; loftier, straighter, wider-spreading, and its matured fruits would have attained a mellower ripeness and sunnier bloom." Her apology for Emily's work should be read with the realization that Charlotte's character was quite different from Emily's: her interpretation of Wuthering Heights should not necessarily be taken at face value.

Saussure's linguistic ideas are still considered important for their time but have suffered considerably subsequently under rhetorical developments aimed at showing how linguistics had changed or was changing with the times. As a consequence, Saussure's ideas are now often presented by professional linguists as outdated and as superseded by developments such as cognitive linguistics and generative grammar or have been so modified in their basic tenets as to make their use in their original formulations difficult without risking distortion, as in systemic linguistics . That development is occasionally overstated, however; Jan Koster states, "Saussure, considered the most important linguist of the century in Europe until the 1950s, hardly plays a role in current theoretical thinking about language," [24] More accurate [ speculation? ] would be to say that Saussure's contributions have been absorbed into how language is approached at such a fundamental level as to be, for many intents and purposes, invisible, much like the contributions of the Neogrammarians in the 19th century. Over-reactions can also be seen in comments of the cognitive linguist Mark Turner [25] who reports that many of Saussure's concepts were "wrong on a grand scale". It is necessary to be rather more finely nuanced in the positions attributed to Saussure and in their longterm influence on the development of linguistic theorizing in all schools; for a more recent rereading of Saussure with respect to such issues, see Paul Thibault. [26] Just as many principles of structural linguistics are still pursued, modified and adapted in current practice and according to what has been learnt since about the embodied functioning of brain and the role of language within this, basic tenets begun with Saussure still can be found operating behind the scenes today [ citation needed ] .

If we substitute for a frog a "Mr. Goodwill" or a "Mr. Prudence," and for the scorpion "Mr. Treachery" or "Mr. Two-Face," and make the river any river and substitute for "We're both Arabs . . ." "We're both men . ." we turn the fable [which illustrates human tendencies by using animals as illustrative examples] into an allegory [a narrative in which each character and action has symbolic meaning]. On the other hand, if we turn the frog into a father and the scorpion into a son (boatman and passenger) and we have the son say "We're both sons of God, aren't we?", then we have a parable (if a rather cynical one) about the wickedness of human nature and the sin of parricide. (22)

Essays on wuthering heights themes

essays on wuthering heights themes


essays on wuthering heights themesessays on wuthering heights themesessays on wuthering heights themesessays on wuthering heights themes