Romeo and Juliet vs Wuthering Heights

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William Shakespeare’s “Romeo and Juliet” and Emily Bronte’s “Wuthering Heights” are widely considered to be two of the most influential and popular love affairs in English literature. The manner scene is used to reflect the temper of the scene. utilizing fluctuations of visible radiation and dark every bit good as conditions and nature. is really stimulating to the imaginativenesss of the audience. This essay will discourse how Shakespeare and Bronte portray love through intelligent linguistic communication and how the scene can deeply act upon our perceptual experience of the characters.

The Oxford English Dictionary defines love as a warm fondness or fancy. It can be shown in many different ways from many different positions. but ne’er has it been so intensely portrayed as in “Romeo and Juliet” and “Wuthering Heights” . In many ways. the plot lines are unusually similar. but at the same clip complete contrasts to each other. much like the characters. In “Wuthering Heights” the secret plan is really complex. with turns and bends at each chapter. and is spread out over the class of 40 six old ages. It is told in a really fresh and unusual manner. being from the position of different characters at different parts of the novel. though chiefly told by Nelly the amah retainer. “Romeo and Juliet” nevertheless is surprisingly simple. being told in both 3rd individual and monologue. but still by the same primary characters throughout the drama. The full plot line. though radius of as being a long lasting feud between the Montagues and the Capulets. is in fact stretched out over a really short clip period of a mere hebdomad.

Both novels. peculiarly “Wuthering Heights” . demo the semantic field of Gothicism. As an audience. our first feeling of Wuthering Heights comes from the briefly looking Mr Lockwood. who describes the terrain environing the house as “…the north air current. blowing over the border. by the inordinate angle of a few. stunted firs at the terminal of the house ; and by a scope of gaunt irritants all stretching their limbs one manner. as if hungering alms of the sun” . The irritants stretching off from the house and towards the visible radiation. about as if they’re seeking to get away. suggests to us that no good
will come of this edifice. and that a batch of calamity is about to take topographic point at that place. The fact that everything is on the threshold of decease warns us that it is a really dark. glooming lay out. and gives the subtlest of intimations that a supernatural component is present. The trees which by Wuthering Highs are “few” and “stunted” are by great contrast to those environing Thrushcross Grange. which are big and flourishing. about steeping the house in a bright and colorful haze. It is this welcoming facade that infects Cathy subsequently in the book. coercing her to bury her interior desires. doing Thrushcross Grange an influential scene and finally the turning point in the novel. It has both a well-lit outside and inside. but hides a smothering societal criterion that pressures all characters inside into concealing parts of themselves. This authorship technique shows off Bronte’s ability to utilize light and dark to give the edifices a personality of their ain. and she has really smartly used hapless false belief here to put the temper of her fresh early on.

Possibly in the lone similarity between Thrushcross Grange and Wuthering Heights. in both houses there is small alteration in its inside and exterior. Although it has lost the “stormy weather” it remains dark and prohibiting. the “floor was of smooth. white rocks ; the chairs. high-backed. crude constructions. painted green: one or two heavy black 1s skulking in the shade” . As Mr Lockwood returns through the house he observes “…dogs haunted other recesses” and at a ulterior point in the chapter. after being attacked by the Canis familiariss. exclaims. “The herd of obsessed swine could hold had no worse liquors in them than those animate beings of yours. sir. You might every bit good go forth a alien with a brood of Liberation Tigers of Tamil Eelams! ” This emphasises the supernatural aura environing Heathcliff and the Moors where the novel is set. doing it experience like a baron barren with lingering immorality that foreshadows a dark narrative.

The Gothic feel is less obvious in “Romeo and Juliet” . but it can still be detected at times. Particularly when Juliet is given the kiping bill of exchange or “potion” to bring on a death-like province. Similar to “Wuthering Heights” . there is a suggestion of the hereafter. as when Romeo and Juliet die. their love remains strong. which is the same for Cathy and Heathcliff who are said to stalk the Moors. In both narratives the chief characters meet a inexorable terminal. and many of the secondary characters suffer the same destiny as a effect. The
dark events of both narratives are comparatively likewise ; each incorporating complicated household trees that live in a changeless competition. backstabbing ( rather literally in “Romeo and Juliet” ) and a tragic love affair.

These subjects may hold been induced by the times in which the narratives were written. Both when William Shakespeare and Emily Bronte were populating in England there was a queen on the throne. which brought approximately much resistance and blackwash efforts were non uncommon. These unsure times surely influenced their authorship. and Bronte particularly had ground to weave dejecting affairs into her novel. It becomes rapidly evident to the reader of “Wuthering Heights” that really few female parent figures appear in the plotline ; this is likely because Emily’s female parent died of malignant neoplastic disease when she was merely a immature miss. and so she was raised by her male parent and older sisters. Her brother became a rummy and may hold been the inspiration for Hindley. and as for the manner of her authorship. that was most likely due to her father’s alone manner of up-bringing. They lived in a really different and equal environment. reading great literature including the plant of Lord Byron. These were a aggregation of verse forms depicting unsafe but passionate work forces. who more frequently than non loved destructively. These verse forms were decidedly the footing of Heathcliff’s character. and perchance even the abrasiveness of Cathy’s wild side.

The fact that Bronte originally published “Wuthering Heights” under the anonym Ellis Bell tells us that she was afraid to utilize her existent name because of the public’s sentiment. believing that her novel may be flooring and unacceptable in society. Since Bronte grew up in Haworth. which is situated on the Yorkshire Moors. the character Cathy may hold been a contemplation of her interior ego. doing the novel in some ways semi-autobiographical. The laterality that Cathy has over the work forces in her life must hold been really disputing to the construction of society in Bronte’s clip. and about surely would hold had an impact on women’s position up until that point. The female characters in the novel are frequently described as being ownerships ; this is shown through her belief that Edgar is more suitable to her worth and therefore the more practical pick of hubby.

Heathcliff really much represents everything dark and unsafe about love. the manner it can turn into an compulsion and consume you wholly. and in my sentiment he is the ultimate victim of the narrative. This is in complete contrast to Edgar who is a really sort and soft figure. about weak at times despite his higher societal rank. Everything about his visual aspect symbolises absolutely the daintiness of love. his “light hair and just skin” making a child-like image in the reader’s head. He “seldom mustered bravery to see Wuthering Heights” which shows that he fears the unsmooth and jagged outside of both the house and Heathcliff. The manner Cathy describes her love for him as being “like the leaf in the forests: clip will alter it” shows that she is rather a shallow character. professing to love Edgar for his expressions and nurturing personality entirely. whilst still staying in the certain belief that she will non experience that manner everlastingly. Whereas her love for Heathcliff is surrounding arrested development as she says it “resembles the ageless stones beneath” and subsequently goes on to claim that if all things ended and he remained she would go on to be. but if he died and all else remained she would discontinue all being. This is such an intense portraiture of love and the usage of linguistic communication here. although metaphorical. is improbably powerful. Mentioning to nature in both illustrations. though really different signifiers of nature ; Edgar as the weak leaf and Heathcliff as the tough stones.

Younger Catherine nevertheless seems to integrate both her mother’s wild run and her father’s kindness. in a much more balanced and healthy combination. She shows this in her first matrimony to Linton. caring for him on his deathbed when Heathcliff refuses to. He doesn’t see Linton as his true boy. since he came from Heathcliff’s matrimony to Isabella which he arranged out of pure green-eyed monster and retaliation. It is in this manner that we get to see merely how much love has changed Heathcliff. turning him into a really acrimonious and cold hearted individual. Upon Cathy’s decease he hopes that she may ne’er happen remainder whilst he still lives. which despite being a selfish thing to state. it can in some ways be justified after all the hurting Cathy has put him through.

Throughout his full life. Heathcliff was on the having terminal of both verbal and physical maltreatment. most of which coming from Hindley who hated him for being Mr Earnshaw’s favorite boy. This once more alterations Heathcliff from an
adventuresome adult male to a alone hermit. taking to rolling the Moors towards the terminal of the novel and finally deceasing from nil more than a broken bosom. Unlike many of the other characters. who throughout the class of the fresh dice of unwellness at immature age. This may besides reflect the times in which it was written. when life anticipation was far lower than it is today. Nelly nevertheless is an exclusion to this phenomenon. as she is the lone character who lives to see the flowering of the full narrative. moving as a female parent figure to many different people including Heathcliff.

In this manner. Nelly is really similar to the nurse in “Romeo and Juliet” who in some ways is more like Juliet’s female parent than Lady Capulet. Since in those yearss it was improper for a adult female of such high stature to breast provender. it is implied that the Nurse did this alternatively. every bit good as looking out for Juliet’s involvements more. Her male parent arranges a matrimony for her. and when she refuses he threatens to disinherit her from so on. This reflects the times in which the drama was set and written. because adult females had really small say in their ain lives.

The scene of Verona really much reflects the temper of its dwellers ; it is an improbably hot topographic point. as are the hot headed characters. Violence is merely every bit much a portion of “Romeo and Juliet” as love. Possibly the most blazing cogent evidence of this is in the quotation mark “These violent delectations have violent terminals. and in their victory dice. like fire and pulverization. which. as they kiss. consume” . Unlike in “Wuthering Heights” . there is infact small contrast between the two opposing households. Members of both the Capulets and the Montagues think likewise. some seeking peace whilst others wishing merely to contend. It is a alone narrative. one of the most unusual characteristics being the debut. where Shakespeare makes the stoping blatantly clear to the audience. Despite this being an automatic spring off. it has become one of the basic templets for any love affair. and hints of the original secret plan can be found in about every love narrative since its relation.

Religious symbology is a common happening in the drama. the most obvious illustration of this being upon Romeo and Juliet’s foremost meeting. where Romeo refers to Juliet as a Saint. and one that he. a simple pilgrim. would snog
if merely he wasn’t afraid to soil her pureness. This manner of linguistic communication resurfaces at several cardinal points in the narrative. as does the subject of visible radiation and darkness in one of the most iconic lines of the narrative “But. soft! What light through yonder window interruptions? It is the E. and Juliet is the sun” . By depicting Juliet as the Sun he suggests that she brings all light into his life. and is the Centre of his universe. Shakespeare uses a batch of these metaphors and so pigments his thought of love as something pure that should be cherished. but besides easy to steal into compulsion.

In “Romeo and Juliet” the portraiture of love is far less unanswered but merely as destructive. Almost all the chief characters die. much like in “Wuthering Heights” . and both narratives reach a comparatively similar result: returning to peace one time the lovers are dead. They have rather inexorable lessons. the turning point in each being down to miscommunication and perchance destiny. since in each narrative the “star-crossed lovers” are far excessively different to of all time be accepted in society as a twosome. This might reflect society as a whole. both when the narratives were written and present twenty-four hours. which in bend may be the ground for their immense success. On a personal note. I have found that “Wuthering Heights” has a batch more deepness to it than “Romeo and Juliet” . A batch of the characters are far more complex and hard to to the full understand. but still every bit relatable. However. it is my steadfast belief that both narratives are plants of mastermind. and that their Godheads have impacted English literature on a monolithic graduated table. inspiring coevalss of originative authors.

By Jessica Lines

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