***

 

David Copperfield

By Charles Dickens

SUMMARY

Now a grown man, David Copperfield tells the story of his youth. As a young boy, he lives happily with his mother and his nurse, Peggotty. His father died before he was born. During David’s early childhood, his mother marries the violent Mr. Murdstone, who brings his strict sister, Miss Murdstone, into the house. The Murdstones treat David cruelly, and David bites Mr. Murdstone’s hand during one beating. The Murdstones send David away to school.

Peggotty takes David to visit her family in Yarmouth, where David meets Peggotty’s brother, Mr. Peggotty, and his two adopted children, Ham and Little Em’ly. Mr. Peggotty’s family lives in a boat turned upside down—a space they share with Mrs. Gummidge, the widowed wife of Mr. Peggotty’s brother. After this visit, David attends school at Salem House, which is run by a man named Mr. Creakle. David befriends and idolizes an egotistical young man named James Steerforth. David also befriends Tommy Traddles, an unfortunate, fat young boy who is beaten more than the others.

David’s mother dies, and David returns home, where the Murdstones neglect him. He works at Mr. Murdstone’s wine-bottling business and moves in with Mr. Micawber, who mismanages his finances. When Mr. Micawber leaves London to escape his creditors, David decides to search for his father’s sister, Miss Betsey Trotwood—his only living relative. He walks a long distance to Miss Betsey’s home, and she takes him in on the advice of her mentally unstable friend, Mr. Dick.

Miss Betsey sends David to a school run by a man named Doctor Strong. David moves in with Mr. Wickfield and his daughter, Agnes, while he attends school. Agnes and David become best friends. Among Wickfield’s boarders is Uriah Heep, a snakelike young man who often involves himself in matters that are none of his business. David graduates and goes to Yarmouth to visit Peggotty, who is now married to Mr. Barkis, the carrier. David reflects on what profession he should pursue.

On his way to Yarmouth, David encounters James Steerforth, and they take a detour to visit Steerforth’s mother. They arrive in Yarmouth, where Steerforth and the Peggottys become fond of one another. When they return from Yarmouth, Miss Betsey persuades David to pursue a career as a proctor, a kind of lawyer. David apprentices himself at the London firm of Spenlow and Jorkins and takes up lodgings with a woman named Mrs. Crupp. Mr. Spenlow invites David to his house for a weekend. There, David meets Spenlow’s daughter, Dora, and quickly falls in love with her.

Summary

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Now a grown man, David Copperfield tells the story of his youth. As a young boy, he lives happily with his mother and his nurse, Peggotty. His father died before he was born. During David’s early childhood, his mother marries the violent Mr. Murdstone, who brings his strict sister, Miss Murdstone, into the house. The Murdstones treat David cruelly, and David bites Mr. Murdstone’s hand during one beating. The Murdstones send David away to school.

Peggotty takes David to visit her family in Yarmouth, where David meets Peggotty’s brother, Mr. Peggotty, and his two adopted children, Ham and Little Em’ly. Mr. Peggotty’s family lives in a boat turned upside down—a space they share with Mrs. Gummidge, the widowed wife of Mr. Peggotty’s brother. After this visit, David attends school at Salem House, which is run by a man named Mr. Creakle. David befriends and idolizes an egotistical young man named James Steerforth. David also befriends Tommy Traddles, an unfortunate, fat young boy who is beaten more than the others.

David’s mother dies, and David returns home, where the Murdstones neglect him. He works at Mr. Murdstone’s wine-bottling business and moves in with Mr. Micawber, who mismanages his finances. When Mr. Micawber leaves London to escape his creditors, David decides to search for his father’s sister, Miss Betsey Trotwood—his only living relative. He walks a long distance to Miss Betsey’s home, and she takes him in on the advice of her mentally unstable friend, Mr. Dick.

Miss Betsey sends David to a school run by a man named Doctor Strong. David moves in with Mr. Wickfield and his daughter, Agnes, while he attends school. Agnes and David become best friends. Among Wickfield’s boarders is Uriah Heep, a snakelike young man who often involves himself in matters that are none of his business. David graduates and goes to Yarmouth to visit Peggotty, who is now married to Mr. Barkis, the carrier. David reflects on what profession he should pursue.

On his way to Yarmouth, David encounters James Steerforth, and they take a detour to visit Steerforth’s mother. They arrive in Yarmouth, where Steerforth and the Peggottys become fond of one another. When they return from Yarmouth, Miss Betsey persuades David to pursue a career as a proctor, a kind of lawyer. David apprentices himself at the London firm of Spenlow and Jorkins and takes up lodgings with a woman named Mrs. Crupp. Mr. Spenlow invites David to his house for a weekend. There, David meets Spenlow’s daughter, Dora, and quickly falls in love with her.

In London, David is reunited with Tommy Traddles and Mr. Micawber. Word reaches David, through Steerforth, that Mr. Barkis is terminally ill. David journeys to Yarmouth to visit Peggotty in her hour of need. Little Em’ly and Ham, now engaged, are to be married upon Mr. Barkis’s death. David, however, finds Little Em’ly upset over her impending marriage. When Mr. Barkis dies, Little Em’ly runs off with Steerforth, who she believes will make her a lady. Mr. Peggotty is devastated but vows to find Little Em’ly and bring her home.

Miss Betsey visits London to inform David that her financial security has been ruined because Mr. Wickfield has joined into a partnership with Uriah Heep. David, who has become increasingly infatuated with Dora, vows to work as hard as he can to make their life together possible. Mr. Spenlow, however, forbids Dora from marrying David. Mr. Spenlow dies in a carriage accident that night, and Dora goes to live with her two aunts. Meanwhile, Uriah Heep informs Doctor Strong that he suspects Doctor Strong’s wife, Annie, of having an affair with her young cousin, Jack Maldon.

David Copperfield Full Book Summary

David Copperfield Full Book Summary

Previous

Next

Now a grown man, David Copperfield tells the story of his youth. As a young boy, he lives happily with his mother and his nurse, Peggotty. His father died before he was born. During David’s early childhood, his mother marries the violent Mr. Murdstone, who brings his strict sister, Miss Murdstone, into the house. The Murdstones treat David cruelly, and David bites Mr. Murdstone’s hand during one beating. The Murdstones send David away to school.

Peggotty takes David to visit her family in Yarmouth, where David meets Peggotty’s brother, Mr. Peggotty, and his two adopted children, Ham and Little Em’ly. Mr. Peggotty’s family lives in a boat turned upside down—a space they share with Mrs. Gummidge, the widowed wife of Mr. Peggotty’s brother. After this visit, David attends school at Salem House, which is run by a man named Mr. Creakle. David befriends and idolizes an egotistical young man named James Steerforth. David also befriends Tommy Traddles, an unfortunate, fat young boy who is beaten more than the others.

David’s mother dies, and David returns home, where the Murdstones neglect him. He works at Mr. Murdstone’s wine-bottling business and moves in with Mr. Micawber, who mismanages his finances. When Mr. Micawber leaves London to escape his creditors, David decides to search for his father’s sister, Miss Betsey Trotwood—his only living relative. He walks a long distance to Miss Betsey’s home, and she takes him in on the advice of her mentally unstable friend, Mr. Dick.

Miss Betsey sends David to a school run by a man named Doctor Strong. David moves in with Mr. Wickfield and his daughter, Agnes, while he attends school. Agnes and David become best friends. Among Wickfield’s boarders is Uriah Heep, a snakelike young man who often involves himself in matters that are none of his business. David graduates and goes to Yarmouth to visit Peggotty, who is now married to Mr. Barkis, the carrier. David reflects on what profession he should pursue.

On his way to Yarmouth, David encounters James Steerforth, and they take a detour to visit Steerforth’s mother. They arrive in Yarmouth, where Steerforth and the Peggottys become fond of one another. When they return from Yarmouth, Miss Betsey persuades David to pursue a career as a proctor, a kind of lawyer. David apprentices himself at the London firm of Spenlow and Jorkins and takes up lodgings with a woman named Mrs. Crupp. Mr. Spenlow invites David to his house for a weekend. There, David meets Spenlow’s daughter, Dora, and quickly falls in love with her.

In London, David is reunited with Tommy Traddles and Mr. Micawber. Word reaches David, through Steerforth, that Mr. Barkis is terminally ill. David journeys to Yarmouth to visit Peggotty in her hour of need. Little Em’ly and Ham, now engaged, are to be married upon Mr. Barkis’s death. David, however, finds Little Em’ly upset over her impending marriage. When Mr. Barkis dies, Little Em’ly runs off with Steerforth, who she believes will make her a lady. Mr. Peggotty is devastated but vows to find Little Em’ly and bring her home.

Miss Betsey visits London to inform David that her financial security has been ruined because Mr. Wickfield has joined into a partnership with Uriah Heep. David, who has become increasingly infatuated with Dora, vows to work as hard as he can to make their life together possible. Mr. Spenlow, however, forbids Dora from marrying David. Mr. Spenlow dies in a carriage accident that night, and Dora goes to live with her two aunts. Meanwhile, Uriah Heep informs Doctor Strong that he suspects Doctor Strong’s wife, Annie, of having an affair with her young cousin, Jack Maldon.

Dora and David marry, and Dora proves a terrible housewife, incompetent in her chores. David loves her anyway and is generally happy. Mr. Dick facilitates a reconciliation between Doctor Strong and Annie, who was not, in fact, cheating on her husband. Miss Dartle, Mrs. Steerforth’s ward, summons David and informs him that Steerforth has left Little Em’ly. Miss Dartle adds that Steerforth’s servant, Littimer, has proposed to her and that Little Em’ly has run away. David and Mr. Peggotty enlist the help of Little Em’ly’s childhood friend Martha, who locates Little Em’ly and brings Mr. Peggotty to her. Little Em’ly and Mr. Peggotty decide to move to Australia, as do the Micawbers, who first save the day for Agnes and Miss Betsey by exposing Uriah Heep’s fraud against Mr. Wickfield.

A powerful storm hits Yarmouth and kills Ham while he attempts to rescue a shipwrecked sailor. The sailor turns out to be Steerforth. Meanwhile, Dora falls ill and dies. David leaves the country to travel abroad. His love for Agnes grows. When David returns, he and Agnes, who has long harbored a secret love for him, get married and have several children. David pursues his writing career with increasing commercial success.

***

 

Bleak House

By Charles Dickens

SUMMARY

Esther Summerson describes her childhood and says she is leaving for the home of a new guardian, Mr. Jarndyce, along with Ada Clare and Richard Carstone. On the way to the home, called Bleak House, they stop overnight at the Jellybys’ chaotic home. When they finally reach Bleak House, they meet Mr. Jarndyce and settle in. They meet Mr. Skimpole, a man who acts like a child.

The narrator describes a ghost that lurks around Chesney Wold, the home of Lady and Sir Leicester Dedlock.

Esther meets the overbearing charity worker Mrs. Pardiggle, who introduces her to a poor brickmaker’s wife named Jenny, whose baby is ill. Esther says she is sure that Ada and Richard are falling in love. She meets Mr. Boythorn, as well as Mr. Guppy, who proposes marriage. Esther refuses him.

At Chesney Wold, Tulkinghorn shows the Dedlocks some Jarndyce documents, and Lady Dedlock recognizes the handwriting. Tulkinghorn says he’ll find out who did it. He asks Mr. Snagsby, the law-stationer, who says a man named Nemo wrote the documents. Tulkinghorn visits Nemo, who lives above a shop run by a man named Krook, and finds him dead. At the coroner’s investigation, a street urchin named Jo is questioned and says that Nemo was nice to him. Later, Tulkinghorn tells Lady Dedlock what he’s learned.

Bleak House Full Book Summary

Bleak House Full Book Summary

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Esther Summerson describes her childhood and says she is leaving for the home of a new guardian, Mr. Jarndyce, along with Ada Clare and Richard Carstone. On the way to the home, called Bleak House, they stop overnight at the Jellybys’ chaotic home. When they finally reach Bleak House, they meet Mr. Jarndyce and settle in. They meet Mr. Skimpole, a man who acts like a child.

The narrator describes a ghost that lurks around Chesney Wold, the home of Lady and Sir Leicester Dedlock.

Esther meets the overbearing charity worker Mrs. Pardiggle, who introduces her to a poor brickmaker’s wife named Jenny, whose baby is ill. Esther says she is sure that Ada and Richard are falling in love. She meets Mr. Boythorn, as well as Mr. Guppy, who proposes marriage. Esther refuses him.

At Chesney Wold, Tulkinghorn shows the Dedlocks some Jarndyce documents, and Lady Dedlock recognizes the handwriting. Tulkinghorn says he’ll find out who did it. He asks Mr. Snagsby, the law-stationer, who says a man named Nemo wrote the documents. Tulkinghorn visits Nemo, who lives above a shop run by a man named Krook, and finds him dead. At the coroner’s investigation, a street urchin named Jo is questioned and says that Nemo was nice to him. Later, Tulkinghorn tells Lady Dedlock what he’s learned.

Richard struggles to find a suitable career, eventually deciding to pursue medicine. But he is more interested in the Jarndyce and Jarndyce lawsuit, which he believes will make him rich. Neither Esther nor the narrator ever fully explains the lawsuit, because nobody remembers what originally prompted the parties to begin the suit.

In London, Esther meets a young girl named Charlotte who is caring for her two young siblings. A lodger who lives in the same building, Mr. Gridley, helps care for the children as well.

A mysterious lady approaches Jo and asks him to show her where Nemo is buried.

Mr. Jarndyce tells Esther some details about her background. He reveals that the woman who raised Esther was her aunt. The next day, a doctor named Mr. Woodcourt visits before leaving on a trip to China and India. An unidentified person leaves a bouquet of flowers for Esther.

Richard begins working in the law. Esther, Ada, and others visit Mr. Boythorn, who lives near Chesney Wold. There, Esther meets Lady Dedlock for the first time and feels a strange connection to her. Lady Dedlock has a French maid, Mademoiselle Hortense, who is jealous that Lady Dedlock has a new young protégée named Rosa.

A man named Mr. Jobling, a friend of Mr. Guppy’s, moves into Nemo’s old room above Krook’s shop.

Two men, George and Grandfather Smallweed, talk about some money that George owes Smallweed. They reach an agreement, and George leaves.

Tulkinghorn introduces Bucket and Snagsby, and Snagsby introduces Bucket to Jo. Bucket figures out that the woman Jo led to the burial ground was disguised in Mademoiselle Hortense’s clothes. Mademoiselle Hortense soon quits her post at Chesney Wold.

Caddy Jellyby tells Esther she is engaged to Prince Turveydrop. Charley Neckett becomes Esther’s maid. Mr. Jarndyce warns Ada and Richard to end their romantic relationship since Richard is joining the army. Gridley dies.

Smallweed visits George and says that Captain Hawdon, a man he thought was dead, is actually alive, and that a lawyer was asking about some handwriting of his. He asks George if he has any handwriting to offer. George visits Tulkinghorn, who explains that George will be rewarded if he gives up some of Hawdon’s handwriting. George refuses.

Bleak House Full Book Summary

Previous

Next

Esther Summerson describes her childhood and says she is leaving for the home of a new guardian, Mr. Jarndyce, along with Ada Clare and Richard Carstone. On the way to the home, called Bleak House, they stop overnight at the Jellybys’ chaotic home. When they finally reach Bleak House, they meet Mr. Jarndyce and settle in. They meet Mr. Skimpole, a man who acts like a child.

The narrator describes a ghost that lurks around Chesney Wold, the home of Lady and Sir Leicester Dedlock.

Esther meets the overbearing charity worker Mrs. Pardiggle, who introduces her to a poor brickmaker’s wife named Jenny, whose baby is ill. Esther says she is sure that Ada and Richard are falling in love. She meets Mr. Boythorn, as well as Mr. Guppy, who proposes marriage. Esther refuses him.

At Chesney Wold, Tulkinghorn shows the Dedlocks some Jarndyce documents, and Lady Dedlock recognizes the handwriting. Tulkinghorn says he’ll find out who did it. He asks Mr. Snagsby, the law-stationer, who says a man named Nemo wrote the documents. Tulkinghorn visits Nemo, who lives above a shop run by a man named Krook, and finds him dead. At the coroner’s investigation, a street urchin named Jo is questioned and says that Nemo was nice to him. Later, Tulkinghorn tells Lady Dedlock what he’s learned.

Richard struggles to find a suitable career, eventually deciding to pursue medicine. But he is more interested in the Jarndyce and Jarndyce lawsuit, which he believes will make him rich. Neither Esther nor the narrator ever fully explains the lawsuit, because nobody remembers what originally prompted the parties to begin the suit.

In London, Esther meets a young girl named Charlotte who is caring for her two young siblings. A lodger who lives in the same building, Mr. Gridley, helps care for the children as well.

A mysterious lady approaches Jo and asks him to show her where Nemo is buried.

Mr. Jarndyce tells Esther some details about her background. He reveals that the woman who raised Esther was her aunt. The next day, a doctor named Mr. Woodcourt visits before leaving on a trip to China and India. An unidentified person leaves a bouquet of flowers for Esther.

Richard begins working in the law. Esther, Ada, and others visit Mr. Boythorn, who lives near Chesney Wold. There, Esther meets Lady Dedlock for the first time and feels a strange connection to her. Lady Dedlock has a French maid, Mademoiselle Hortense, who is jealous that Lady Dedlock has a new young protégée named Rosa.

A man named Mr. Jobling, a friend of Mr. Guppy’s, moves into Nemo’s old room above Krook’s shop.

Two men, George and Grandfather Smallweed, talk about some money that George owes Smallweed. They reach an agreement, and George leaves.

Tulkinghorn introduces Bucket and Snagsby, and Snagsby introduces Bucket to Jo. Bucket figures out that the woman Jo led to the burial ground was disguised in Mademoiselle Hortense’s clothes. Mademoiselle Hortense soon quits her post at Chesney Wold.

Caddy Jellyby tells Esther she is engaged to Prince Turveydrop. Charley Neckett becomes Esther’s maid. Mr. Jarndyce warns Ada and Richard to end their romantic relationship since Richard is joining the army. Gridley dies.

Smallweed visits George and says that Captain Hawdon, a man he thought was dead, is actually alive, and that a lawyer was asking about some handwriting of his. He asks George if he has any handwriting to offer. George visits Tulkinghorn, who explains that George will be rewarded if he gives up some of Hawdon’s handwriting. George refuses.

Guppy visits Lady Dedlock in London and tells her he thinks there is a connection between her and Esther. He says that Esther’s former guardian was someone named Miss Barbary and that Esther’s real name was Esther Hawdon. He says that Nemo was actually named Hawdon, and that he left some letters, which Guppy will get. When Guppy leaves, Lady Dedlock cries: Esther is her daughter, who her sister claimed had died at birth.

Charley and Esther visit Jenny and find Jo lying on the floor. He is sick, and Esther takes him back to Bleak House, putting him up in the stable. In the morning, he has disappeared. Charley gets very ill. Then Esther gets extremely ill.

Guppy and his friend Jobling want to get Hawdon’s letters from Krook. But when they go down to Krook’s shop, they find that he has spontaneously combusted. Later, Grandfather Smallweed arrives to take care of Krook’s property. Guppy eventually tells Lady Dedlock the letters were destroyed.

Smallweed demands payment from George and the Bagnets, on whose behalf he borrowed the money. Desperate, he tells Tulkinghorn he’ll turn over the Hawdon’s handwriting if he’ll leave the Bagnets alone.

Esther recovers slowly. Miss Flite visits her, telling her that a mysterious woman visited Jenny’s cottage, asking about Esther and taking away a handkerchief Esther had left. She also tells Esther that Mr. Woodcourt has returned. Esther goes to Mr. Boythorn’s house to recover fully. She looks in a mirror for the first time and sees that her face is terribly scarred from the smallpox. While there, Lady Dedlock confronts her and tells her she’s Esther’s mother. She orders Esther to never speak to her again, since this must remain a secret.

Richard pursues the Jarndyce lawsuit more earnestly, aided by a lawyer named Vholes. He no longer speaks to Mr. Jarndyce, who doesn’t want anything to do with the suit.

Esther visits Guppy and instructs him to stop investigating her.

Tulkinghorn visits Chesney Wold and hints that he knows Lady Dedlock’s secret. She confronts him and says she will leave Chesney Wold immediately because she knows her secret will destroy Rosa’s marriage prospects. Tulkinghorn convinces her to stay, since fleeing will make her secret known too fast. When Tulkinghorn is back home, he is visited by Mademoiselle Hortense, who demands he help her find a job. He threatens to arrest her if she keeps harassing him.

Esther tells Mr. Jarndyce about Lady Dedlock. He reveals that Boythorn was once in love with Miss Barbary, who left him when she decided to raise Esther in secret. Mr. Jarndyce gives Esther a letter that asks her to marry him. Esther accepts.

Esther tries to convince Richard to abandon the Jarndyce suit. While she is visiting him, he tells her he has left the army and devoted himself entirely to the lawsuit. Esther sees Mr. Woodcourt on the street. She asks Mr. Woodcourt to befriend Richard in London, and he agrees.

In London, Woodcourt runs into Jo on the street and gives him some food. He discovers that Jo once stayed with Esther. Jo tells him that a man forced him to leave and that he’s now scared of running into him. Woodcourt helps Jo find a hiding place at George’s Shooting Gallery. Jo soon dies.

Lady Dedlock dismisses Rosa with no explanation in order to protect her. Tulkinghorn is enraged and says he’ll reveal the secret. That night, Tulkinghorn is shot through the heart. The next day, Bucket arrests George for the murder.

Ada reveals to Esther that she and Richard have been secretly married.

Bucket investigates Tulkinghorn’s murder. He receives a few letters that say only “Lady Dedlock.” He confronts Sir Leicester and tells him what he knows about Lady Dedlock’s past. Instead of arresting Lady Dedlock, however, he arrests Mademoiselle Hortense, who killed Tulkinghorn and tried to frame Lady Dedlock.

Meanwhile, Mrs. Rouncewell, the housekeeper at Chesney Wold, finds out that George is her long-lost son. She begs Lady Dedlock to do anything she can to help him. Guppy arrives and tells Lady Dedlock that the letters were actually not destroyed. Lady Dedlock writes a note to Sir Leicester, saying she didn’t murder Tulkinghorn, and then she flees.

Sir Leicester collapses from a stroke. Mrs. Rouncewell gives him Lady Dedlock’s letter, and he orders Bucket to find her, saying he forgives her for everything. Bucket asks Esther to join him, and they set out in search of Lady Dedlock in the middle of the night. While Sir Leicester waits at home, unable to speak clearly, Esther and Bucket search. Eventually Bucket figures out where to find her. They finally find Lady Dedlock at the gate of the burial ground where Hawdon is buried. She is dead.

Richard is sick and still obsessed with Jarndyce and Jarndyce. Ada is pregnant and hopes the baby will distract Richard from his obsession with the lawsuit. After visiting Richard one night, Woodcourt walks Esther home and confesses he still loves her as he once did. She tells him she is engaged to Mr. Jarndyce.

Smallweed finds a Jarndyce will among Krook’s property and gives it to Vholes.

George moves to Chesney Wold, where he helps tend to Sir Leicester.

Esther begins to plan the wedding. Mr. Jarndyce goes to Yorkshire on business and then sends for her. When she arrives, she finds out that Mr. Jarndyce has bought a house for Woodcourt out of gratitude. He shows her the house, which is decorated in Esther’s style, and tells her that he’s named the house Bleak House. Then he reveals that he knows she loves Woodcourt and that they should be married. He says he will always be her guardian. Woodcourt appears, and he and Esther reunite.

The Jarndyce and Jarndyce case is finally dismissed. No one gets any money since the inheritance had been used up to pay the legal fees. Richard dies.

Esther says she and Woodcourt have two daughters and that Ada had a son. She is very happy.

***

 

WUTHERING HEIGHTS BY Emily Brontë

WUTHERING HIEIGHTS & ROMANTICISM

CRITICAL EVALUATION:

Wuthering Heights, Emily  Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre. Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre.

ROMANTICISM AND THE BRONTËS

Romanticism, the literary movement traditionally dated 1798 to 1832 in England, affected all the arts through the nineteenth century. The Brontës were familiar with the writings of the major romantic poets and the novels of Sir Walter Scott. When Charlotte Brontë, for instance, wanted an evaluation of her writing, she sent a sample to the romantic poet Southey. The romantic elements in the Brontës' writings are obvious. Walter Pater saw in Wuthering Heights the characteristic spirit of romanticism, particularly in "the figures of Hareton Earnshaw, of Catherine Linton, and of Heathcliff–tearing open Catherine's grave, removing one side of her coffin, that he may really lie beside her in death–figures so passionate, yet woven on a background of delicately beautiful, moorland scenery, being typical examples of that spirit."

As the details of their lives became generally known and as Jane Eyre and Wuthering Heights received increasingly favorable critical attention, Charlotte, Emily, and Anne were cast in the role of Romantic Rebels. Contributing to the Romantic Rebels Myth was the association of Romanticism and early death; Shelley having died at 29, Byron at 36, and Keats at 24. Branwell died at the age of 31, Emily at 30, and Anne at 29; to add to the emotional impact, Branwell, Emily, and Anne died in the space of nine months. The Romantic predilection for early death appears in Wuthering Heights; Linton is 17 when he dies; Catherine, 18; Hindley, 27; Isabella, 31; Edgar, 39; Heathcliff, perhaps 37 or 38.

ROMANTIC ELEMENTS IN WUTHERING HEIGHTS

The major characteristics of Romanticism could be extrapolated from a reading of Wuthering Heights:

the imagination is unleashed to explore extreme states of being and experiences.

the love of nature is not presented just in its tranquil and smiling aspects but also appears in its wild, stormy moods, nature is a living, vitalizing force and offers a refuge from the constraints of civilization, the passion driving Catherine and Heathcliff and their obsessive love for each other are the center of their being and transcend death, so great a focus is placed on the individual that society is pushed to the periphery of the action and the reader's consciousness, the concern with identity and the creation of the self are a primary concern, childhood and the adult's developing from childhood experiences are presented realistically, Heathcliff is the Byronic hero; both are rebellious, passionate, misanthropic, isolated, and willful, have mysterious origins, lack family ties, reject external restrictions and control, and seek to resolve their isolation by fusing with a love object, Hareton is the noble savage and, depending on your reading of the novel, so is Heathcliff, Brontë experiments with the narrative structure (the Chinese-box structure in which Lockwood narrates what Nelly tells him, who repeats what others told her), the taste for local color shows in the portrayal of Yorkshire, its landscape, its folklore, and its people, the supernatural or the possibility of the supernatural appears repeatedly.

ROMANTIC LOVE IN WUTHERING HEIGHTS

Romantic love takes many forms in Wuthering Heights: the grand passion of Heathcliff and Catherine, the insipid sentimental languishing of Lockwood, the coupleism of Hindley and Frances, the tame indulgence of Edgar, the romantic infatuation of Isabella, the puppy love of Cathy and Linton, and the flirtatious sexual attraction of Cathy and Hareton. These lovers, with the possible exception of Hareton and Cathy, are ultimately self-centered and ignore the needs, feelings, and claims of others; what matters is the lovers' own feelings and needs.

Nevertheless, it is the passion of Heathcliff and Catherine that most readers respond to and remember and that has made this novel one of the great love stories not merely of English literature but of European literature as well. Simone de Beauvois cites Catherine's cry, "I am Heathcliff," in her discussion of romantic love, and movie adaptations of the novel include a Mexican and a French version. In addition, their love has passed into popular culture; Kate Bush and Pat Benetar both recorded "Wuthering Heights," a song which Bush wrote, and MTV showcased the lovers in a musical version.

The love-relationship of Heathcliff and Catherine, but not that of the other lovers, has become an archetype; it expresses the passionate longing to be whole, to give oneself unreservedly to another and gain a whole self or sense of identity back, to be all-in-all for each other, so that nothing else in the world matters, and to be loved in this way forever. This type of passion-love can be summed up in the phrase more--and still more , for it is insatiable, unfulfillable, and unrelenting in its demands upon both lovers.

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CRITICAL GLANCE AT WUTHERING HEIGHTS

Initially Jane Eyre was regarded as the best of the Brontë sisters' novels, a judgment which continued nearly to the end of the century. By the 1880s critics began to place Emily's achievement above Charlotte's; a major factor in this shift was Mary Robinson's book-length biography of Emily (1883). In 1926, Charles Percy Sanger worked out the chronology of Wuthering Heights by closely examining the text; though other critics have since worked out alternate chronologies, his work affirmed Emily's literary craft and meticulous planning of the novel and disproved Charlotte's presentation of her sister as an  unconscious artist who "did not know what she had done." Critics are still arguing about the structure of Wuthering Heights:  for Mark Schorer it is one of the most carefully constructed novels in English, but for Albert J. Guerard it is a splendid, imperfect novel which Brontë loses control over occasionally.

Despite the increasing critical admiration for Wuthering Heights, Lord David Cecil could write, in 1935, that Emily Brontë was not properly appreciated; even her admirers saw her as an "unequal genius." He countered this view by identifying the operation of cosmic forces as the central impetus and controlling force in the novel. He was not the first critic to perceive cosmic forces in the novel; Virginia Woolf, for one, had earlier written of Emily Brontë and her novel that

She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book. That gigantic ambition is to be felt throughout the novel–a struggle, half thwarted but of superb conviction, to say something through the mouths of her characters which is not merely "I love" or "I hate," but "we, the whole human race" and "you, the eternal powers..." the sentence remains unfinished.

Nevertheless, Cecil's theory that a principle of calm and storm informed the novel was a critical milestone because it provided a comprehensive interpretation which presented the novel as a unified whole. He introduced a reading which later critics have generally responded to, whether to build on or to reject. Cecil premised that, because Emily was concerned with what life means, she focused on her characters' place in the cosmos, in which everything–alive or not, intellectual or physical–was animated by one of two spiritual principles: the principle of the storm, which was harsh, ruthless, wild, dynamic and wild, and the principle of calm , which was gentle, merciful, passive, and tame. The usual distinction between human being and nature did not exist for her; rather, for her, they were alive in the same way, an angry man and an angry sky both literally manifesting the same spiritual principle of storm. Cecil cautioned that in spite of their apparent opposition these principles are not conflicting. Either–Emily Brontë does not make clear which she thinks–each is the expression of a different aspect of a single pervading spirit; or they are the component parts of a harmony. They may not seem so to us. The world of our experience is, on the face of it, full of discord. But that is only because in the cramped condition of their earthly incarnation these principles are diverted from following the course that their nature dictates, and get in each other's way. They are changed from positive into negative forces; the calm becomes a source of weakness, not of harmony, in the natural scheme, the storm a source not of fruitful vigour, but of disturbance. But when they are free from fleshly bonds they flow unimpeded and unconflicting; and even in this world their discords are transitory. The single principle that ultimately directs them sooner or later imposes an equilibrium....

Because these principles were neither good nor evil but just were, the novel was not concerned with moral issues and judgments; rather, it presented, in Cecil's view, a pre-moral world.

Just as Brontë resolved the usual conflict between the principles of storm and calm into equilibrium, so she resolved the traditional opposition between life and death by allowing for the immorality of the soul in life as well as in the afterlife. Cecil extrapolated, "The spiritual principle of which the soul is a manifestation is active in this life: therefore, the disembodied soul continues to be active in this life. Its ruling preoccupations remain the same after death as before." In other words, the individual's nature and passions did not end with death; rather, death allowed their free expression and fulfillment and so held the promise of peace. This was why Catherine's spirit haunted Wutheirng Heights after her death.

Cecil's theory is one of the twentieth century outpourings of interpretations trying to prove the novel had a unified structure. Surveying these myriad efforts, J. Hillis Miller challenged the assumption that the novel presents a unified, coherent, single meaning: "The secret truth about Wuthering Heights, rather, is that there is no secret truth which criticism might formulate in this way... It leaves something important still unaccounted for... The text is over-rich." He suggests that readers and critics should push their reading of or theory about the novel as far as they can, until they can face the fact that their interpretation fails to account for all the elements in the novel, that the novel is not amenable to logical interpretation or to one interpretation which accounts for the entire novel.

Perhaps F.R. Leavis penned the most quoted (most infamous?) modern interpretation of Wuthering Heights when he excluded it from the great tradition of the English novel because it was a "sport," i.e., had no meaningful connection to fiction which preceded it or influence on fiction which followed it.

THE GOTHIC AND WUTHERING HEIGHTS

Whether or not Wuthering Heights should be classified as a Gothic novel (certainly it is not merleya Gothic novel), it undeniably contains Gothic elements.

In true Gothic fashion, boundaries are trespassed, specifically love crossing the boundary between life and death and Heathcliff's transgressing social class and family ties. Brontë follows Walpole and Radcliffe in portraying the tyrannies of the father and the cruelties of the patriarchal family and in reconstituting the family on non-patriarchal lines, even though no counterbalancing matriarch or matriarchal family is presented. Brontë has incorporated the Gothic trappings of imprisonment and escape, flight, the persecuted heroine, the heroine wooed by a dangerous and a good suitor, ghosts, necrophilia, a mysterious foundling, and revenge. The weather-buffeted Wuthering Heights is the traditional castle, and Catherine resembles Ann Radcliffe's heroines in her appreciation of nature. Like the conventional Gothic hero-villain, Heathcliff is a mysterious figure who destroys the beautiful woman he pursues and who usurps inheritances, and with typical Gothic excess he batters his head against a tree. There is the hint of necrophilia in Heathcliff's viewings of Catherine's corpse and his plans to be buried next to her and a hint of incest in their being raised as brother and sister or, as a few critics have suggested, in Heathcliff's being Catherine's illegitimate half-brother.

A FEMINIST THEORY OF THE GOTHIC AND WUTHERING HEIGHTS

Ellen Moers has propounded a feminist theory that related women writers in general and Emily Brontë in particular to the Gothic. Middle-class women who wanted to write were hampered by the conventional image of ladies as submissive, pious, gentle, loving, serene, domestic angels; they had to overcome the conventional patronizing, smug, unempowering, contemptuous sentimentalizing of women by reviewers like George Henry Lewes, who looked down on women writers: Women's proper sphere of activity is elsewhere [than writing]. Are there no husbands, lovers, brothers, friends to coddle and console? Are there no stockings to darn, no purses to make, no braces to embroider? My idea of a perfect woman is one who can write but won't.

What subversive values and taboo experiences does Emily Brontë express with her passionate heroine Catherine? Moers sees subversion in Brontë's acceptance of the cruel as a normal, almost an energizing part of life and in her portrayal of the erotic in childhood. The cruelty connects this novel to the Gothic tradition, which has been associated with women writers since Anne Radcliffe . The connection was, in fact, recognized by Brontë's contemporaries; the Athenaeumreviewer labeled the Gothic elements in Wuthering Heights "the eccentricities of ‘woman's fantasy'" (1847). Moers thinks a more accurate word than eccentricities would be perversities. These perversities may have originated in "fantasies derived from the night side of the Victorian nursery–a world where childish cruelty and childish sexuality come to the fore." Of particular importance for intellectual middle-class women who never matured sexually was the brother-sister relationship.

WUTHERING HEIGHTS AS SOCIO-ECONOMIC NOVEL

The novel opens in 1801, a date Q.D. Leavis believes Brontë chose in order "to fix its happenings at a time when the old rough farming culture, based on a naturally patriarchal family life, was to be challenged, tamed and routed by social and cultural changes; these changes produced Victorian class consciousness and ‘unnatural' ideal of gentility." In 1801 the Industrial Revolution was under way in England; when Emily Brontë was writing in 1847, it was a dominant force in English economy and society, and the traditional relationship of social classes was being disrupted by mushroom-new fortunes and an upwardly-aspiring middle class. The criterion for defining a gentleman was shifting to money, from character, breeding, or family. This social-economic reality provides the context for socio-economic readings of the novel.

WUTHERING HIEIGHTS & ROMANTICISM

CRITICAL EVALUATION:

Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre. Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre.

ROMANTICISM AND THE BRONTËS

Romanticism, the literary movement traditionally dated 1798 to 1832 in England, affected all the arts through the nineteenth century. The Brontës were familiar with the writings of the major romantic poets and the novels of Sir Walter Scott. When Charlotte Brontë, for instance, wanted an evaluation of her writing, she sent a sample to the romantic poet Southey. The romantic elements in the Brontës' writings are obvious. Walter Pater saw in Wuthering Heights the characteristic spirit of romanticism, particularly in "the figures of Hareton Earnshaw, of Catherine Linton, and of Heathcliff–tearing open Catherine's grave, removing one side of her coffin, that he may really lie beside her in death–figures so passionate, yet woven on a background of delicately beautiful, moorland scenery, being typical examples of that spirit."

As the details of their lives became generally known and as Jane Eyre and Wuthering Heights received increasingly favorable critical attention, Charlotte, Emily, and Anne were cast in the role of Romantic Rebels. Contributing to the Romantic Rebels Myth was the association of Romanticism and early death; Shelley having died at 29, Byron at 36, and Keats at 24. Branwell died at the age of 31, Emily at 30, and Anne at 29; to add to the emotional impact, Branwell, Emily, and Anne died in the space of nine months. The Romantic predilection for early death appears in Wuthering Heights; Linton is 17 when he dies; Catherine, 18; Hindley, 27; Isabella, 31; Edgar, 39; Heathcliff, perhaps 37 or 38.

ROMANTIC ELEMENTS IN WUTHERING HEIGHTS

The major characteristics of Romanticism could be extrapolated from a reading of Wuthering Heights:

the imagination is unleashed to explore extreme states of being and experiences.

the love of nature is not presented just in its tranquil and smiling aspects but also appears in its wild, stormy moods, nature is a living, vitalizing force and offers a refuge from the constraints of civilization, the passion driving Catherine and Heathcliff and their obsessive love for each other are the center of their being and transcend death, so great a focus is placed on the individual that society is pushed to the periphery of the action and the reader's consciousness, the concern with identity and the creation of the self are a primary concern, childhood and the adult's developing from childhood experiences are presented realistically, Heathcliff is the Byronic hero; both are rebellious, passionate, misanthropic, isolated, and willful, have mysterious origins, lack family ties, reject external restrictions and control, and seek to resolve their isolation by fusing with a love object, Hareton is the noble savage and, depending on your reading of the novel, so is Heathcliff, Brontë experiments with the narrative structure (the Chinese-box structure in which Lockwood narrates what Nelly tells him, who repeats what others told her), the taste for local color shows in the portrayal of Yorkshire, its landscape, its folklore, and its people, the supernatural or the possibility of the supernatural appears repeatedly.

ROMANTIC LOVE IN WUTHERING HEIGHTS

Romantic love takes many forms in Wuthering Heights: the grand passion of Heathcliff and Catherine, the insipid sentimental languishing of Lockwood, the coupleism of Hindley and Frances, the tame indulgence of Edgar, the romantic infatuation of Isabella, the puppy love of Cathy and Linton, and the flirtatious sexual attraction of Cathy and Hareton. These lovers, with the possible exception of Hareton and Cathy, are ultimately self-centered and ignore the needs, feelings, and claims of others; what matters is the lovers' own feelings and needs.

Nevertheless, it is the passion of Heathcliff and Catherine that most readers respond to and remember and that has made this novel one of the great love stories not merely of English literature but of European literature as well. Simone de Beauvois cites Catherine's cry, "I am Heathcliff," in her discussion of romantic love, and movie adaptations of the novel include a Mexican and a French version. In addition, their love has passed into popular culture; Kate Bush and Pat Benetar both recorded "Wuthering Heights," a song which Bush wrote, and MTV showcased the lovers in a musical version.

The love-relationship of Heathcliff and Catherine, but not that of the other lovers, has become an archetype; it expresses the passionate longing to be whole, to give oneself unreservedly to another and gain a whole self or sense of identity back, to be all-in-all for each other, so that nothing else in the world matters, and to be loved in this way forever. This type of passion-love can be summed up in the phrase more--and still more , for it is insatiable, unfulfillable, and unrelenting in its demands upon _both_ lovers.

***

 

Sense and Sensibility

by  Jane Austen. 

It is a novel written by Jane Austen and published in 1811. Set in the early 19th century, the novel follows the lives and romantic entanglements of the Dashwood sisters, Elinor and Marianne, as they navigate the societal expectations, financial challenges, and matters of the heart.

The title, "Sense and Sensibility," reflects the contrasting personalities of the two sisters. Elinor Dashwood embodies sense, representing practicality, restraint, and a rational approach to life. On the other hand, Marianne Dashwood embodies sensibility, characterized by passion, emotion, and a more spontaneous nature.

The novel explores themes such as love, social class, and the role of women in a society where marriage often determined a woman's future. Austen's sharp wit and keen observations of human behavior are evident throughout the narrative, making "Sense and Sensibility" a classic work of literature that continues to captivate readers with its timeless portrayal of relationships and societal norms.

2) Summary:-

"Sense and Sensibility" by Jane Austen revolves around the lives of the Dashwood sisters, Elinor and Marianne, as they navigate the challenges of love, societal expectations, and financial uncertainties.

1. **The Dashwood Family:** The novel begins with the death of Mr. Dashwood, leaving his second wife, Mrs. Dashwood, and their three daughters – Elinor, Marianne, and Margaret – in a precarious financial situation. The family is forced to move to a more modest residence, Barton Cottage, on the generosity of a distant relative.

2. **Contrasting Personalities:** Elinor Dashwood is characterized by "sense," displaying practicality and a composed demeanor. Marianne, in contrast, embodies "sensibility," with her passionate and emotional nature. The sisters' differing approaches to life and love become central to the story.

3. **Romantic Entanglements:** Elinor develops an affection for Edward Ferrars, a reserved and seemingly unattainable young man. Marianne falls deeply in love with the dashing and romantic John Willoughby. However, both sisters face obstacles and heartbreak in their pursuit of happiness.

4. **Social Expectations:** The novel explores the constraints of societal norms, particularly regarding marriage and class. The Dashwood sisters must navigate a world where financial stability and social standing play significant roles in romantic relationships.

5. **Heartbreak and Resilience:** Marianne's impulsive pursuit of love results in heartbreak when Willoughby's true character is revealed. Elinor, facing her own challenges, maintains her composure despite the emotional turmoil. Both sisters demonstrate resilience in the face of adversity.

6. **Resolution:** Ultimately, Elinor finds happiness with Edward Ferrars, whose circumstances become more favorable. Marianne, after a period of reflection, discovers a deeper and more mature love with Colonel Brandon, a character initially overlooked.

Through its exploration of love, societal expectations, and the balance between reason and emotion, "Sense and Sensibility" showcases Jane Austen's keen understanding of human nature and her ability to craft a story that remains relevant and engaging across generations.

3) Critical analysis :-

"Sense and Sensibility" by Jane Austen is a novel that delves into the nuances of human character, societal norms, and the complexities of love. Here's a critical analysis of some key aspects:

1. **Satirical Social Commentary:**

- Austen employs sharp satire to critique the social norms of her time. The novel scrutinizes the rigid class structure, the emphasis on wealth and status, and the limitations placed on women, particularly in the context of marriage.

2. **Characterization:**

- The characters in "Sense and Sensibility" are meticulously crafted to represent different facets of human nature. Elinor embodies prudence and rationality, navigating the challenges with poise. Marianne, on the other hand, represents romantic idealism and emotional impulsiveness. The contrast between the sisters serves as a lens through which Austen explores the balance between sense and sensibility.

3. **Exploration of Gender Roles:**

- Austen challenges traditional gender roles, portraying her female characters as complex individuals with intellect and agency. Elinor, in particular, defies stereotypes of the passive and emotional woman, showcasing strength and resilience in the face of adversity.

4. **Irony and Humor:**

- Austen's use of irony and humor is evident throughout the narrative. The gap between appearance and reality, especially in romantic relationships, is a recurring theme. The characters often find themselves in ironic situations, highlighting the discrepancy between societal expectations and individual desires.

5. **Love and Marriage:**

- The novel scrutinizes the institution of marriage, revealing the economic and social considerations that often govern romantic unions. Marriages based on genuine affection, such as Elinor's with Edward Ferrars and Marianne's with Colonel Brandon, are contrasted with those motivated by financial gain, as seen in Lucy Steele's marriage to Robert Ferrars.

6. **Evolution of Characters:**

- The characters undergo significant development and growth throughout the novel. Marianne's transformation from impulsive romanticism to a more measured understanding of love is a central theme. Elinor's resilience in the face of personal disappointment showcases her maturity and strength.

In "Sense and Sensibility," Jane Austen's mastery lies not only in her storytelling but also in her ability to use wit, irony, and keen observation to critique the societal norms of her time. The novel's enduring appeal lies in its timeless exploration of human nature and the intricacies of relationships.

***

 

WUTHERING HIEIGHTS & ROMANTICISM

CRITICAL EVALUATION:

Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre. Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre.

ROMANTICISM AND THE BRONTËS

Romanticism, the literary movement traditionally dated 1798 to 1832 in England, affected all the arts through the nineteenth century. The Brontës were familiar with the writings of the major romantic poets and the novels of Sir Walter Scott. When Charlotte Brontë, for instance, wanted an evaluation of her writing, she sent a sample to the romantic poet Southey. The romantic elements in the Brontës' writings are obvious. Walter Pater saw in Wuthering Heights the characteristic spirit of romanticism, particularly in "the figures of Hareton Earnshaw, of Catherine Linton, and of Heathcliff–tearing open Catherine's grave, removing one side of her coffin, that he may really lie beside her in death–figures so passionate, yet woven on a background of delicately beautiful, moorland scenery, being typical examples of that spirit."

As the details of their lives became generally known and as Jane Eyre and Wuthering Heights received increasingly favorable critical attention, Charlotte, Emily, and Anne were cast in the role of Romantic Rebels. Contributing to the Romantic Rebels Myth was the association of Romanticism and early death; Shelley having died at 29, Byron at 36, and Keats at 24. Branwell died at the age of 31, Emily at 30, and Anne at 29; to add to the emotional impact, Branwell, Emily, and Anne died in the space of nine months. The Romantic predilection for early death appears in Wuthering Heights; Linton is 17 when he dies; Catherine, 18; Hindley, 27; Isabella, 31; Edgar, 39; Heathcliff, perhaps 37 or 38.

ROMANTIC ELEMENTS IN WUTHERING HEIGHTS

The major characteristics of Romanticism could be extrapolated from a reading of Wuthering Heights:

the imagination is unleashed to explore extreme states of being and experiences.

the love of nature is not presented just in its tranquil and smiling aspects but also appears in its wild, stormy moods, nature is a living, vitalizing force and offers a refuge from the constraints of civilization, the passion driving Catherine and Heathcliff and their obsessive love for each other are the center of their being and transcend death, so great a focus is placed on the individual that society is pushed to the periphery of the action and the reader's consciousness, the concern with identity and the creation of the self are a primary concern, childhood and the adult's developing from childhood experiences are presented realistically, Heathcliff is the Byronic hero; both are rebellious, passionate, misanthropic, isolated, and willful, have mysterious origins, lack family ties, reject external restrictions and control, and seek to resolve their isolation by fusing with a love object, Hareton is the noble savage and, depending on your reading of the novel, so is Heathcliff, Brontë experiments with the narrative structure (the Chinese-box structure in which Lockwood narrates what Nelly tells him, who repeats what others told her), the taste for local color shows in the portrayal of Yorkshire, its landscape, its folklore, and its people, the supernatural or the possibility of the supernatural appears repeatedly.

ROMANTIC LOVE IN WUTHERING HEIGHTS

Romantic love takes many forms in Wuthering Heights: the grand passion of Heathcliff and Catherine, the insipid sentimental languishing of Lockwood, the coupleism of Hindley and Frances, the tame indulgence of Edgar, the romantic infatuation of Isabella, the puppy love of Cathy and Linton, and the flirtatious sexual attraction of Cathy and Hareton. These lovers, with the possible exception of Hareton and Cathy, are ultimately self-centered and ignore the needs, feelings, and claims of others; what matters is the lovers' own feelings and needs.

Nevertheless, it is the passion of Heathcliff and Catherine that most readers respond to and remember and that has made this novel one of the great love stories not merely of English literature but of European literature as well. Simone de Beauvois cites Catherine's cry, "I am Heathcliff," in her discussion of romantic love, and movie adaptations of the novel include a Mexican and a French version. In addition, their love has passed into popular culture; Kate Bush and Pat Benetar both recorded "Wuthering Heights," a song which Bush wrote, and MTV showcased the lovers in a musical version.

The love-relationship of Heathcliff and Catherine, but not that of the other lovers, has become an archetype; it expresses the passionate longing to be whole, to give oneself unreservedly to another and gain a whole self or sense of identity back, to be all-in-all for each other, so that nothing else in the world matters, and to be loved in this way forever. This type of passion-love can be summed up in the phrase more--and still more , for it is insatiable, unfulfillable, and unrelenting in its demands upon both lovers.

----------------------------------------------------

CRITICAL GLANCE AT WUTHERING HEIGHTS

Initially Jane Eyre was regarded as the best of the Brontë sisters' novels, a judgment which continued nearly to the end of the century. By the 1880s critics began to place Emily's achievement above Charlotte's; a major factor in this shift was Mary Robinson's book-length biography of Emily (1883). In 1926, Charles Percy Sanger worked out the chronology of Wuthering Heights by closely examining the text; though other critics have since worked out alternate chronologies, his work affirmed Emily's literary craft and meticulous planning of the novel and disproved Charlotte's presentation of her sister as an  unconscious artist who "did not know what she had done." Critics are still arguing about the structure of Wuthering Heights:  for Mark Schorer it is one of the most carefully constructed novels in English, but for Albert J. Guerard it is a splendid, imperfect novel which Brontë loses control over occasionally.

Despite the increasing critical admiration for Wuthering Heights, Lord David Cecil could write, in 1935, that Emily Brontë was not properly appreciated; even her admirers saw her as an "unequal genius." He countered this view by identifying the operation of cosmic forces as the central impetus and controlling force in the novel. He was not the first critic to perceive cosmic forces in the novel; Virginia Woolf, for one, had earlier written of Emily Brontë and her novel that

She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book. That gigantic ambition is to be felt throughout the novel–a struggle, half thwarted but of superb conviction, to say something through the mouths of her characters which is not merely "I love" or "I hate," but "we, the whole human race" and "you, the eternal powers..." the sentence remains unfinished.

Nevertheless, Cecil's theory that a principle of calm and storm informed the novel was a critical milestone because it provided a comprehensive interpretation which presented the novel as a unified whole. He introduced a reading which later critics have generally responded to, whether to build on or to reject. Cecil premised that, because Emily was concerned with what life means, she focused on her characters' place in the cosmos, in which everything–alive or not, intellectual or physical–was animated by one of two spiritual principles: the principle of the storm, which was harsh, ruthless, wild, dynamic and wild, and the principle of calm , which was gentle, merciful, passive, and tame. The usual distinction between human being and nature did not exist for her; rather, for her, they were alive in the same way, an angry man and an angry sky both literally manifesting the same spiritual principle of storm. Cecil cautioned that in spite of their apparent opposition these principles are not conflicting. Either–Emily Brontë does not make clear which she thinks–each is the expression of a different aspect of a single pervading spirit; or they are the component parts of a harmony. They may not seem so to us. The world of our experience is, on the face of it, full of discord. But that is only because in the cramped condition of their earthly incarnation these principles are diverted from following the course that their nature dictates, and get in each other's way. They are changed from positive into negative forces; the calm becomes a source of weakness, not of harmony, in the natural scheme, the storm a source not of fruitful vigour, but of disturbance. But when they are free from fleshly bonds they flow unimpeded and unconflicting; and even in this world their discords are transitory. The single principle that ultimately directs them sooner or later imposes an equilibrium....

Because these principles were neither good nor evil but just were, the novel was not concerned with moral issues and judgments; rather, it presented, in Cecil's view, a pre-moral world.

Just as Brontë resolved the usual conflict between the principles of storm and calm into equilibrium, so she resolved the traditional opposition between life and death by allowing for the immorality of the soul in life as well as in the afterlife. Cecil extrapolated, "The spiritual principle of which the soul is a manifestation is active in this life: therefore, the disembodied soul continues to be active in this life. Its ruling preoccupations remain the same after death as before." In other words, the individual's nature and passions did not end with death; rather, death allowed their free expression and fulfillment and so held the promise of peace. This was why Catherine's spirit haunted Wutheirng Heights after her death.

Cecil's theory is one of the twentieth century outpourings of interpretations trying to prove the novel had a unified structure. Surveying these myriad efforts, J. Hillis Miller challenged the assumption that the novel presents a unified, coherent, single meaning: "The secret truth about Wuthering Heights, rather, is that there is no secret truth which criticism might formulate in this way... It leaves something important still unaccounted for... The text is over-rich." He suggests that readers and critics should push their reading of or theory about the novel as far as they can, until they can face the fact that their interpretation fails to account for all the elements in the novel, that the novel is not amenable to logical interpretation or to one interpretation which accounts for the entire novel.

Perhaps F.R. Leavis penned the most quoted (most infamous?) modern interpretation of Wuthering Heights when he excluded it from the great tradition of the English novel because it was a "sport," i.e., had no meaningful connection to fiction which preceded it or influence on fiction which followed it.

THE GOTHIC AND WUTHERING HEIGHTS

Whether or not Wuthering Heights should be classified as a Gothic novel (certainly it is not merleya Gothic novel), it undeniably contains Gothic elements.

In true Gothic fashion, boundaries are trespassed, specifically love crossing the boundary between life and death and Heathcliff's transgressing social class and family ties. Brontë follows Walpole and Radcliffe in portraying the tyrannies of the father and the cruelties of the patriarchal family and in reconstituting the family on non-patriarchal lines, even though no counterbalancing matriarch or matriarchal family is presented. Brontë has incorporated the Gothic trappings of imprisonment and escape, flight, the persecuted heroine, the heroine wooed by a dangerous and a good suitor, ghosts, necrophilia, a mysterious foundling, and revenge. The weather-buffeted Wuthering Heights is the traditional castle, and Catherine resembles Ann Radcliffe's heroines in her appreciation of nature. Like the conventional Gothic hero-villain, Heathcliff is a mysterious figure who destroys the beautiful woman he pursues and who usurps inheritances, and with typical Gothic excess he batters his head against a tree. There is the hint of necrophilia in Heathcliff's viewings of Catherine's corpse and his plans to be buried next to her and a hint of incest in their being raised as brother and sister or, as a few critics have suggested, in Heathcliff's being Catherine's illegitimate half-brother.

A FEMINIST THEORY OF THE GOTHIC AND WUTHERING HEIGHTS

Ellen Moers has propounded a feminist theory that relates women writers in general and Emily Brontë in particular to the Gothic. Middle-class women who wanted to write were hampered by the conventional image of ladies as submissive, pious, gentle, loving, serene, domestic angels; they had to overcome the conventional patronizing, smug, unempowering, contemptuous sentimentalizing of women by reviewers like George Henry Lewes, who looked down on women writers: Women's proper sphere of activity is elsewhere [than writing]. Are there no husbands, lovers, brothers, friends to coddle and console? Are there no stockings to darn, no purses to make, no braces to embroider? My idea of a perfect woman is one who can write but won't.

What subversive values and taboo experiences does Emily Brontë express with her passionate heroine Catherine? Moers sees subversion in Brontë's acceptance of the cruel as a normal, almost an energizing part of life and in her portrayal of the erotic in childhood. The cruelty connects this novel to the Gothic tradition, which has been associated with women writers since Anne Radcliffe . The connection was, in fact, recognized by Brontë's contemporaries; the Athenaeumreviewer labeled the Gothic elements in Wuthering Heights "the eccentricities of ‘woman's fantasy'" (1847). Moers thinks a more accurate word than eccentricities would be perversities. These perversities may have originated in "fantasies derived from the night side of the Victorian nursery–a world where childish cruelty and childish sexuality come to the fore." Of particular importance for intellectual middle-class women who never matured sexually was the brother-sister relationship.

WUTHERING HEIGHTS AS SOCIO-ECONOMIC NOVEL

The novel opens in 1801, a date Q.D. Leavis believes Brontë chose in order "to fix its happenings at a time when the old rough farming culture, based on a naturally patriarchal family life, was to be challenged, tamed and routed by social and cultural changes; these changes produced Victorian class consciousness and ‘unnatural' ideal of gentility." In 1801 the Industrial Revolution was under way in England; when Emily Brontë was writing in 1847, it was a dominant force in English economy and society, and the traditional relationship of social classes was being disrupted by mushroom-new fortunes and an upwardly-aspiring middle class. The criterion for defining a gentleman was shifting to money, from character, breeding, or family. This social-economic reality provides the context for socio-economic readings of the novel.

WUTHERING HIEIGHTS & ROMANTICISM

CRITICAL EVALUATION:

Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre. Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". It was written between October 1845 and June 1846. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre.

ROMANTICISM AND THE BRONTËS

Romanticism, the literary movement traditionally dated 1798 to 1832 in England, affected all the arts through the nineteenth century. The Brontës were familiar with the writings of the major romantic poets and the novels of Sir Walter Scott. When Charlotte Brontë, for instance, wanted an evaluation of her writing, she sent a sample to the romantic poet Southey. The romantic elements in the Brontës' writings are obvious. Walter Pater saw in Wuthering Heights the characteristic spirit of romanticism, particularly in "the figures of Hareton Earnshaw, of Catherine Linton, and of Heathcliff–tearing open Catherine's grave, removing one side of her coffin, that he may really lie beside her in death–figures so passionate, yet woven on a background of delicately beautiful, moorland scenery, being typical examples of that spirit."

As the details of their lives became generally known and as Jane Eyre and Wuthering Heights received increasingly favorable critical attention, Charlotte, Emily, and Anne were cast in the role of Romantic Rebels. Contributing to the Romantic Rebels Myth was the association of Romanticism and early death; Shelley having died at 29, Byron at 36, and Keats at 24. Branwell died at the age of 31, Emily at 30, and Anne at 29; to add to the emotional impact, Branwell, Emily, and Anne died in the space of nine months. The Romantic predilection for early death appears in Wuthering Heights; Linton is 17 when he dies; Catherine, 18; Hindley, 27; Isabella, 31; Edgar, 39; Heathcliff, perhaps 37 or 38.

ROMANTIC ELEMENTS IN WUTHERING HEIGHTS

The major characteristics of Romanticism could be extrapolated from a reading of Wuthering Heights:

the imagination is unleashed to explore extreme states of being and experiences.

the love of nature is not presented just in its tranquil and smiling aspects but also appears in its wild, stormy moods, nature is a living, vitalizing force and offers a refuge from the constraints of civilization, the passion driving Catherine and Heathcliff and their obsessive love for each other are the center of their being and transcend death, so great a focus is placed on the individual that society is pushed to the periphery of the action and the reader's consciousness, the concern with identity and the creation of the self are a primary concern, childhood and the adult's developing from childhood experiences are presented realistically, Heathcliff is the Byronic hero; both are rebellious, passionate, misanthropic, isolated, and willful, have mysterious origins, lack family ties, reject external restrictions and control, and seek to resolve their isolation by fusing with a love object, Hareton is the noble savage and, depending on your reading of the novel, so is Heathcliff, Brontë experiments with the narrative structure (the Chinese-box structure in which Lockwood narrates what Nelly tells him, who repeats what others told her), the taste for local color shows in the portrayal of Yorkshire, its landscape, its folklore, and its people, the supernatural or the possibility of the supernatural appears repeatedly.

ROMANTIC LOVE IN WUTHERING HEIGHTS

Romantic love takes many forms in Wuthering Heights: the grand passion of Heathcliff and Catherine, the insipid sentimental languishing of Lockwood, the coupleism of Hindley and Frances, the tame indulgence of Edgar, the romantic infatuation of Isabella, the puppy love of Cathy and Linton, and the flirtatious sexual attraction of Cathy and Hareton. These lovers, with the possible exception of Hareton and Cathy, are ultimately self-centered and ignore the needs, feelings, and claims of others; what matters is the lovers' own feelings and needs.

Nevertheless, it is the passion of Heathcliff and Catherine that most readers respond to and remember and that has made this novel one of the great love stories not merely of English literature but of European literature as well. Simone de Beauvois cites Catherine's cry, "I am Heathcliff," in her discussion of romantic love, and movie adaptations of the novel include a Mexican and a French version. In addition, their love has passed into popular culture; Kate Bush and Pat Benetar both recorded "Wuthering Heights," a song which Bush wrote, and MTV showcased the lovers in a musical version.

The love-relationship of Heathcliff and Catherine, but not that of the other lovers, has become an archetype; it expresses the passionate longing to be whole, to give oneself unreservedly to another and gain a whole self or sense of identity back, to be all-in-all for each other, so that nothing else in the world matters, and to be loved in this way forever. This type of passion-love can be summed up in the phrase more--and still more , for it is insatiable, unfulfillable, and unrelenting in its demands upon both lovers.

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CRITICAL GLANCE AT WUTHERING HEIGHTS

Initially Jane Eyre was regarded as the best of the Brontë sisters' novels, a judgment which continued nearly to the end of the century. By the 1880s critics began to place Emily's achievement above Charlotte's; a major factor in this shift was Mary Robinson's book-length biography of Emily (1883). In 1926, Charles Percy Sanger worked out the chronology of Wuthering Heights by closely examining the text; though other critics have since worked out alternate chronologies, his work affirmed Emily's literary craft and meticulous planning of the novel and disproved Charlotte's presentation of her sister as an  unconscious artist who "did not know what she had done." Critics are still arguing about the structure of Wuthering Heights:  for Mark Schorer it is one of the most carefully constructed novels in English, but for Albert J. Guerard it is a splendid, imperfect novel which Brontë loses control over occasionally.

Despite the increasing critical admiration for Wuthering Heights, Lord David Cecil could write, in 1935, that Emily Brontë was not properly appreciated; even her admirers saw her as an "unequal genius." He countered this view by identifying the operation of cosmic forces as the central impetus and controlling force in the novel. He was not the first critic to perceive cosmic forces in the novel; Virginia Woolf, for one, had earlier written of Emily Brontë and her novel that

She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book. That gigantic ambition is to be felt throughout the novel–a struggle, half thwarted but of superb conviction, to say something through the mouths of her characters which is not merely "I love" or "I hate," but "we, the whole human race" and "you, the eternal powers..." the sentence remains unfinished.

Nevertheless, Cecil's theory that a principle of calm and storm informed the novel was a critical milestone because it provided a comprehensive interpretation which presented the novel as a unified whole. He introduced a reading which later critics have generally responded to, whether to build on or to reject. Cecil premised that, because Emily was concerned with what life means, she focused on her characters' place in the cosmos, in which everything–alive or not, intellectual or physical–was animated by one of two spiritual principles: the principle of the storm, which was harsh, ruthless, wild, dynamic and wild, and the principle of calm , which was gentle, merciful, passive, and tame. The usual distinction between human being and nature did not exist for her; rather, for her, they were alive in the same way, an angry man and an angry sky both literally manifesting the same spiritual principle of storm. Cecil cautioned that in spite of their apparent opposition these principles are not conflicting. Either–Emily Brontë does not make clear which she thinks–each is the expression of a different aspect of a single pervading spirit; or they are the component parts of a harmony. They may not seem so to us. The world of our experience is, on the face of it, full of discord. But that is only because in the cramped condition of their earthly incarnation these principles are diverted from following the course that their nature dictates, and get in each other's way. They are changed from positive into negative forces; the calm becomes a source of weakness, not of harmony, in the natural scheme, the storm a source not of fruitful vigour, but of disturbance. But when they are free from fleshly bonds they flow unimpeded and unconflicting; and even in this world their discords are transitory. The single principle that ultimately directs them sooner or later imposes an equilibrium....

Because these principles were neither good nor evil but just were, the novel was not concerned with moral issues and judgments; rather, it presented, in Cecil's view, a pre-moral world.

Just as Brontë resolved the usual conflict between the principles of storm and calm into equilibrium, so she resolved the traditional opposition between life and death by allowing for the immorality of the soul in life as well as in the afterlife. Cecil extrapolated, "The spiritual principle of which the soul is a manifestation is active in this life: therefore, the disembodied soul continues to be active in this life. Its ruling preoccupations remain the same after death as before." In other words, the individual's nature and passions did not end with death; rather, death allowed their free expression and fulfillment and so held the promise of peace. This was why Catherine's spirit haunted Wutheirng Heights after her death.

Cecil's theory is one of the twentieth century outpourings of interpretations trying to prove the novel had a unified structure. Surveying these myriad efforts, J. Hillis Miller challenged the assumption that the novel presents a unified, coherent, single meaning: "The secret truth about Wuthering Heights, rather, is that there is no secret truth which criticism might formulate in this way... It leaves something important still unaccounted for... The text is over-rich." He suggests that readers and critics should push their reading of or theory about the novel as far as they can, until they can face the fact that their interpretation fails to account for all the elements in the novel, that the novel is not amenable to logical interpretation or to one interpretation which accounts for the entire novel.

Perhaps F.R. Leavis penned the most quoted (most infamous?) modern interpretation of Wuthering Heights when he excluded it from the great tradition of the English novel because it was a "sport," i.e., had no meaningful connection to fiction which preceded it or influence on fiction which followed it.

THE GOTHIC AND WUTHERING HEIGHTS

Whether or not Wuthering Heights should be classified as a Gothic novel (certainly it is not merleya Gothic novel), it undeniably contains Gothic elements.

In true Gothic fashion, boundaries are trespassed, specifically love crossing the boundary between life and death and Heathcliff's transgressing social class and family ties. Brontë follows Walpole and Radcliffe in portraying the tyrannies of the father and the cruelties of the patriarchal family and in reconstituting the family on non-patriarchal lines, even though no counterbalancing matriarch or matriarchal family is presented. Brontë has incorporated the Gothic trappings of imprisonment and escape, flight, the persecuted heroine, the heroine wooed by a dangerous and a good suitor, ghosts, necrophilia, a mysterious foundling, and revenge. The weather-buffeted Wuthering Heights is the traditional castle, and Catherine resembles Ann Radcliffe's heroines in her appreciation of nature. Like the conventional Gothic hero-villain, Heathcliff is a mysterious figure who destroys the beautiful woman he pursues and who usurps inheritances, and with typical Gothic excess he batters his head against a tree. There is the hint of necrophilia in Heathcliff's viewings of Catherine's corpse and his plans to be buried next to her and a hint of incest in their being raised as brother and sister or, as a few critics have suggested, in Heathcliff's being Catherine's illegitimate half-brother.

A FEMINIST THEORY OF THE GOTHIC AND WUTHERING HEIGHTS

Ellen Moers has propounded a feminist theory that relates women writers in general and Emily Brontë in particular to the Gothic. Middle-class women who wanted to write were hampered by the conventional image of ladies as submissive, pious, gentle, loving, serene, domestic angels; they had to overcome the conventional patronizing, smug, unempowering, contemptuous sentimentalizing of women by reviewers like George Henry Lewes, who looked down on women writers: Women's proper sphere of activity is elsewhere [than writing]. Are there no husbands, lovers, brothers, friends to coddle and console? Are there no stockings to darn, no purses to make, no braces to embroider? My idea of a perfect woman is one who can write but won't.

What subversive values and taboo experiences does Emily Brontë express with her passionate heroine Catherine? Moers sees subversion in Brontë's acceptance of the cruel as a normal, almost an energizing part of life and in her portrayal of the erotic in childhood. The cruelty connects this novel to the Gothic tradition, which has been associated with women writers since Anne Radcliffe . The connection was, in fact, recognized by Brontë's contemporaries; the Athenaeumreviewer labeled the Gothic elements in Wuthering Heights "the eccentricities of ‘woman's fantasy'" (1847). Moers thinks a more accurate word than eccentricities would be perversities. These perversities may have originated in "fantasies derived from the night side of the Victorian nursery–a world where childish cruelty and childish sexuality come to the fore." Of particular importance for intellectual middle-class women who never matured sexually was the brother-sister relationship.

WUTHERING HEIGHTS AS SOCIO-ECONOMIC NOVEL

The novel opens in 1801, a date Q.D. Leavis believes Brontë chose in order "to fix its happenings at a time when the old rough farming culture, based on a naturally patriarchal family life, was to be challenged, tamed and routed by social and cultural changes; these changes produced Victorian class consciousness and ‘unnatural' ideal of gentility." In 1801 the Industrial Revolution was under way in England; when Emily Brontë was writing in 1847, it was a dominant force in English economy and society, and the traditional relationship of social classes was being disrupted by mushroom-new fortunes and an upwardly-aspiring middle class. The criterion for defining a gentleman was shifting to money, from character, breeding, or family. This social-economic reality provides the context for socio-economic readings of the novel.

#DELLG

@everyone

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#Hamlet" is a tragedy written by William Shakespeare that tells the story of Prince Hamlet of Denmark seeking revenge on his uncle Claudius for murdering his father and usurping the throne. The play explores themes of revenge, madness, moral corruption, and the nature of humanity.

Hamlet, Prince of Denmark, is grieving the sudden death of his father, King Hamlet. However, his grief turns to anger and suspicion when his mother, Queen Gertrude, marries his uncle Claudius just weeks after the funeral. Hamlet is visited by the ghost of his father, who reveals that he was murdered by Claudius. Sworn to avenge his father's death, Hamlet plots to expose Claudius' guilt.

Hamlet, feigning madness, begins to act erratically, causing concern among his family and friends. He becomes obsessed with proving Claudius' guilt and seeks to gather evidence through a play reenacting the murder. During this time, Hamlet's relationship with Ophelia, his love interest, deteriorates, leading to her madness and eventual death.

As Hamlet continues to navigate his revenge plot, he accidentally kills Polonius, Ophelia's father, thinking he is Claudius. This tragedy sparks a chain of events, with Polonius' son Laertes vowing to avenge his father's death. Claudius manipulates Laertes into a plan to kill Hamlet in a duel.

In the final scene, the duel takes place, resulting in the deaths of Hamlet, Laertes, Claudius, and Gertrude. Before dying, Hamlet ensures that his story will be told by his friend Horatio. Fortinbras, the prince of Norway, arrives and discovers the tragic scene, taking control of the kingdom.

Throughout the play, Hamlet contemplates the nature of life, death, and the human condition through his famous soliloquies, struggling with his own indecisiveness and the consequences of his actions. "Hamlet" is a complex exploration of revenge, deception, and the consequences of one's choices.

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#LITERATURE. #A_Comppete_explanation_of_this_poem. 

A Short Analysis of Emily Dickinson’s ‘I felt a Funeral, in my Brain’

By Dr Oliver Tearle (Loughborough University)

‘I felt a Funeral, in my Brain’ is poem number 280 in Emily Dickinson’s Complete Poems. This intriguing poem presents a number of enigmas for the reader, like many of Emily Dickinson’s poems. In this post it is our intention to offer a short summary and analysis of ‘I felt a Funeral, in my Brain’ and to try to clear away some of the obscurities and ambiguities.

I felt a Funeral, in my Brain,

And Mourners to and fro

Kept treading – treading – till it seemed

That Sense was breaking through –

And when they all were seated,

A Service, like a Drum –

Kept beating – beating – till I thought

My mind was going numb –

And then I heard them lift a Box

And creak across my Soul

With those same Boots of Lead, again,

Then Space – began to toll,

As all the Heavens were a Bell,

And Being, but an Ear,

And I, and Silence, some strange Race,

Wrecked, solitary, here –

And then a Plank in Reason, broke,

And I dropped down, and down –

And hit a World, at every plunge,

And Finished knowing – then –

A brief summary of the poem quickly reveals how odd it is, even by Emily Dickinson’s wonderfully eccentric standards. But then ‘I felt a Funeral, in my Brain’ is about going mad, about losing one’s grip on reality and feeling sanity slide away – at least, in one interpretation or analysis of the poem.

In the first stanza, the poem’s speaker uses the metaphor of the funeral for what is going on inside her head (we will assume that the speaker is female here, though this is only surmise: Dickinson often uses male speakers in her poetry). Her sanity and reason have died, and the chaos inside her mind is like the mourners at a funeral walking backward and forward.

The insistent repetition of ‘treading – treading’ evokes the hammering and turbulence within the speaker’s brain. These mourners sit down and the service takes place, featuring first a drum beating and then – following the creaking lift of the lid of a box – a sound that reminds the speaker of a bell (suggesting the tolling of a funeral bell to announce someone’s death).

Yet, as so often with an Emily Dickinson poem, the meaning is not – cannot – be as straightforward as this. The funeral suggests the loss of something, but is it reason and sanity that are lost, or is it reason and sanity that kill off something else? Who, or what, is this ‘Funeral in my brain’ for? The poem withholds this information.

Note how at the end of that first stanza, Dickinson’s speaker says that ‘it seemed / That Sense was breaking through’. If sense – common sense, reason, sanity – is breaking through, that could suggest that they are making progress, that sense is conquering irrationality and it is unreason, rather than reason, that has died.

This is, perhaps, an inevitable part of getting old: we lose our sense of fun, our childlike irrationality as our mind hardens into reason and sense (and being sensible). Part of the problem lies in how we view the phrase ‘breaking through’, which could either mean ‘coming into view’ (like a shaft of sunlight through a gap in the curtains) or ‘falling and collapsing’ through something, such as the floorboards. (Note, in this connection, the image of the ‘plank’ later in the poem.)

What’s more, a funeral is traditionally a solemn and sober affair, formal and orderly: more evocative of sensible reason than wild irrationality. If irrationality (or madness) had broken through and taken over instead, wouldn’t we expect something more chaotic and disorderly to be going on than a funeral, with the mourners ‘seated’ and the mind going ‘numb’?

The latter parts of the poem seem to suggest that we were perhaps right first time, however, and that the speaker has lost her mind: the speaker finds herself along with ‘Silence’, solitary like a shipwrecked person. And then, perhaps helped along by this solitude and silence, a ‘Plank in Reason’ broke, and the speaker describes the following sensation as like falling through the floor. She loses her sense of being grounded and stable, falling ‘down, and down’. It appears that she has lost her reason. Yet the final line of Dickinson’s poem is ambiguous:

And Finished knowing – then –

‘Finished knowing’ as in stopped knowing something, or ended up by knowing something? ‘Finished knowing’ is ambiguous. Does the speaker gain or lose knowledge at the end of the poem? And if she does gain knowledge, knowledge of what?

‘I felt a Funeral in my Brain’ is one of Emily Dickinson’s most puzzling poems in that its meaning could be interpreted in two very divergent ways. The ambiguities aren’t simply a matter of difference in meaning, but of sheer opposition. Whose funeral is it anyway? Our analysis cannot answer that question. We welcome your thoughts on a truly troubling, but brilliant, poem.

About Emily Dickinson

Perhaps no other poet has attained such a high reputation after their death that was unknown to them during their lifetime. Born in 1830, Emily Dickinson lived her whole life within the few miles around her hometown of Amherst, Massachusetts. She never married, despite several romantic correspondences, and was better-known as a gardener than as a poet while she was alive.

Dickinson collected around eight hundred of her poems into little manuscript books which she lovingly put together without telling anyone. Her poetry is instantly recognisable for her idiosyncratic use of dashes in place of other forms of punctuation. She frequently uses the four-line stanza (or quatrain), and, unusually for a nineteenth-century poet, utilises pararhyme or half-rhyme as often as full rhyme. The epitaph on Emily Dickinson’s gravestone, composed by the poet herself, features just two words: ‘called back’.

Continue to explore Dickinson’s poetry with Dickinson’s wonderful snake poem, ‘A narrow Fellow in the Grass’, her ‘My Life had stood – a Loaded Gun’., and her poem ‘Because I could not stop for Death’. If you want to own all of Dickinson’s wonderful poetry in a single volume, you can: we recommend the Faber edition of her Complete Poems.