Like Romeo and Juliet, Heathcliff and Catherine are, in the reader’s eyes, the only necessary romantic relationship within ‘Wuthering Heights’. Catherine’s relationship with Heathcliff is angst full, passionate and a rollercoaster of emotions and events ‘like the eternal rocks beneath’. Isabella feels like an interloper on this passionate relationship, by removing Heathcliff from Catherine’s grasp the anticipation of their seemingly impending relationship is severed. Isabella and Heathcliff’s relationship is immature, superficial and unremarkable, in comparison Heathcliff and Catherine’s relationship is multi-faceted, built up over years of conversations, emotions, shared fears, shared joy ‘Nelly, I am Heathcliff’, so Isabella’s petulant childish behaviour forces the reader to begrudge her even further, and she becomes more of an annoyance than an intriguing component to the novel. Despite the awful way Heathcliff seems to treat Isabella it is impossible to feel sorry for her, as there is a sense of her bringing it on her self.
She however challenges and subverts the dominant patriarchal paradigms and tropes of her society as she searches for the solution to her descent into morbid conviction. This is achieved through the use of first person, conveying her personal philosophy of unrequited love as a liberating resolution to her woe. Sonnet I, from her collection “the sonnets from the Portuguese” highlights the
Lucy manipulates Ann and takes her for granted from cover to cover. What is Ann's responsibility in the relationship ? Why would she take such abuse over and over again? This comes across more like a dysfunction relationship rather than a friendship. Authentic friendships are not one sided, at times one person may be in need of support more than another but there is always a sense of love, care and consideration that must be mutual.
Many people assume that love and passion go hand-in-hand in a relationship. People have come to believe that one true love can satisfy the need for passion. In The Storm, Kate Chopin uses imagery, flashback, and parallelism to draw a fine line between passion and love. Chopin presents passion as an emotion separate from love. She creates the feeling that passion is an intense emotion that is more mysterious than love could ever be.
Also Eliza resisted the sexual double-standard which I found really amazing. “Marriage is the tomb of friendship. It appears to me a very selfish state. Why do people, in general, as soon as they are married, centre all their cares, their concerns, and pleasures ion their own families? Former acquaintances are neglected or forgotten.
She knew this about herself and was highly criticized for it. This means that she failed to be objective in several instances.A few good poems to use to capture her struggle with relationships might be these: "Mirror","By Candlelight" ,"Mary's Song". "Daddy" by Sylvia Plath is by right considered a magnificent poem about daughter's relationship with a father. Also it can also be read as an allegory of female yielding and final revolt in a men's world who have been responsible for all the disasters and wars
Love and Addiction in Wuthering Heights Love by definition is an intense feeling of deep affection for someone. In a lifetime, one may strive to find love in and for another person. However, is it possible to be so in love with someone that you become obsessed and addicted to this person in every possible way? In the novel Wuthering Heights by Emily Bronte, the line between love and addiction, in relation to the three main characters Catherine, Linton, and Heathcliff, is crossed many times. Addictions are based on a need for psychological security, and the person experiencing this will stop at nothing to maintain the bond held with their partner.
Macbeth was obsessed with gaining power and becoming king and he was jealous of Duncan because of his power and authority. In the opening pages of ‘the withered arm’ the origins of the conflict between the two women are established. We are shown the connection the two women have to Farmer Lodge and the differences between the two social classes. Hardy deliberately juxtaposes the different houses and lifestyles (pg5) to encourage the reader to sympathise with Rhoda and perhaps to emphasize more the inevitability of the conflict between the two women. Hardy’s interest in the underdog and the uncovered difficulties experienced by women and the poor, show he was strongly against social prejudice which would have been a big thing at the time this novel was written and was probably influenced a lot by his own childhood experiences.
It is passion developed under its most profound and serious aspect; as in Isabella, we have the serious and the thoughtful, not the brilliant side of intellect. Both Helena and Isabel are distinguished by high mental powers, tinged with a melancholy sweetness; but in Isabella the serious and energetic part of the character is founded in religious principle, in Helena it is founded in deep passion. There never was, perhaps, a more beautiful picture of a woman's love, cherished in secret, not self-consuming in silent languishment — not pining in thought — not passive and "desponding over its idol" — but patient and hopeful, strong in its own intensity, and sustained by its own fond faith. The passion here reposes upon itself for all its interest; it derives nothing from art or ornament or circumstance; it has nothing of the picturesque charm or glowing romance of Juliet; nothing of the poetical splendour of Portia, or the vestal grandeur of Isabel. The situation of Helena is the most painful and degrading
Throughout the text, Gilman attempts to uncover the often disturbing truths that lurk beneath the surface of something seemingly innocent with reference to her own socio-economic philosophy; that is the economics of marriage and the nature of the mentally destructive sub-ordination of women within it. The room in which the narrator is confined proposes problems for her immediately. She instantly recognises that there is ‘something queer’(pg 1) about it and the presence of the bars, rings and it’s nailed down bed besides making it reminiscent of an asylum, give it also a constricting atmosphere which illustrates the physical oppression of women in a broader sense, how married women in the nineteenth century would be part of a domestic, private sphere and the man would be part of a more public sphere, like John who is frequently absent during his wife’s ‘treatment’. By taking into account Virginia Woolf’s A Room of One’s Own , we can fully appreciate, as Woolf insists, the importance of a physical and metaphorical space in which to engage with one’s creativity and personality. It is this freedom or ‘room of (her) own’ the narrator is denied as she is prevented from having any say in her physical environment or even how best to channel her anxieties and imaginative urges which ultimately lead to the deterioration of her mental state.