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WORLD LITERATURE

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MUHAMMAD BILAL MIRZA

ASSIGNMENT 1
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7/30/2022

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31232

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Heathcliff’s passion is so great that it’s no wonder some readers don’t even view him as a
human being. Instead, some literary critics argue Heathcliff represents the power of the
untamed, natural world. 

First of all, one may argue that one view of Heathcliff is that he represents the wicked ‘other’
and the menacing identity of the story by examining the duality of his personality. This is evident
from the fact that he is said to be the one behaving like an “incarnate goblin” and “not a human
being”. Heathcliff is explicitly associated with this supernatural concept through the use of the
noun “goblin” and the pre-modifier “incarnate”. This is illustrated further by Heathcliff's eyes,
which are referred to as "basilisk eyes" and "clouded windows of hell." Since Heathcliff never
serves as a pure narrator in the book, I find the portrayal of the eyes as a "window of hell" to be
particularly intriguing. It has been the closest the readers may go to understanding Heathcliff's
inner thoughts and, consequently, his true identity. This theme runs through the entire book since
it is mentioned that his body looks like a "goblin," indicating that he is still a dangerous figure
even after losing human consciousness. The author of "Jane Eyre," Charlotte Bronte, seems to
concur with the idea that Heathcliff represents the demon because she refers to him as a "man's
shape animated by a demon life - a ghoul."

The reader must keep in mind, though, that all of these representations are opinionated because
they are provided by two different narrators—Nelly, initially, then Lockwood, after that. Given
that there is constant discussion in the work regarding Heathcliff's true identity, this unreliability
of the narrative makes a statement on the subjectivity of other people's perceptions. The fact that
Heathcliff never acquires a family name and instead uses the name Heathcliff "both for Christian
and surname" further supports the idea that he is an outsider because he is described as a "gypsy
brat" who speaks "gibberish." His given name, Heathcliff, which is used "both for Christian and
surname," further supports this as he never acquires a family name. This sense of being without a
human identity automatically brands him as a victim and an outcast, and it all but guarantees that
he would act in a way that goes against natural and conventional humaneness, fulfilling the
name's prophecy. Therefore, despite the fact that Heathcliff's actions and the descriptors in the
book suggest something evil and devilish, there is an underlying sense that he is susceptible
because he is an outcast in society and is thus treated differently, making him susceptible to a
destiny of responsiveness to this.

His identity is frequently contrasted in the book, and this argument is never resolved. This is
demonstrated by Isabella's query, "Is Mr. Heathcliff a man? If so, is he mad? And if not, is he the
devil? The comparison between "man," "mad," and "devil" sums up the Heathcliff issue. The
triadic structure's order, from "man" to "devil," could be seen as a feeling of Heathcliff becoming
into a devil, though: He was once a man, but after being deemed inhumane by society, he went
insane and eventually turned into the devil. However, since the phrase "if so" is repeated, it's
possible that the repeating of "madness" and "demonic" is an accident. But the reader can infer
that Heathcliff combines all three of these characteristics. The verb "howled" and the simile "like
a savage beast getting goaded to death with knives and spears" suggest that Heathcliff is
inhumane, supernatural, evil, and threatening: exaggerated through the adjective "savage," but
this is contrasted in the same quotation by the passiveness of "getting goaded to death with
knives and spears." In addition, the verb "howled," which associates Heathcliff with an animal,
maybe another clue to his victimization because its associations with animals may imply a
restriction of freedom of expression or action. Therefore, discussions concerning Heathcliff's true
identity as well as the reasons why he is viewed as evil or demonic are sparked by the description
and words used to describe him. It could be argued that these two interpretations do not even
offer two conflicting ideas of Heathcliff's identity: rather, one is the justification for the other.
James Twitchell, a literary critic, concludes this duality of Heathcliff's nature and perception by
stating that he is "both parasite and host, oppressor and victim, vampire and vampirized."

By contrasting Heathcliff with Edgar and examining Catherine's relationships with each of them,
Bronte can further explore the concept of duality. We witness this duality between both their
identities and what accompanies it in Catherine's reluctance to choose whether to love Heathcliff
and the choice of Edgar, who is someone immersed in society and the expectations within it. She
chooses someone with a high rank in society rather than someone who would be viewed as an
outsider, which illustrates the character of society through the choice of Edgar. In a piece of
article, it was asserted that Catherine's self was made up of two conflicting elements: Edgar and
Heathcliff. I believe it is more likely to be stated that Edgar represents an idealized version of a
side of her than herself. Edgar embodies this vision and aim of blending into Christian morality,
adult sexuality, maternal obligation, and societal duties because Catherine exhibits the desire—
and sometimes necessary demand—to fit into society. By making this decision, Catherine
implies that her relationship with Heathcliff has failed, that their love is simply an ideal from
childhood, and that such intensity of emotion cannot be maintained as an adult.

The inevitable and intense love that Catherine and Heathcliff are depicted to share, however, is
contrasted with the idea of Edgar as her aspirational self and as her successor and victor of
society through Catherine's decision to marry him. Catherine lays out this juxtaposition when she
says that "my love for Linton is like the foliage in the woods. Time will change it, I'm well
aware, as winter changes the trees", and that my love for Heathcliff is like the unchanging rocks
below." The analogy of her relationship with Edgar to the seasons—"how winter transforms the
trees"—creates a feeling of their relationship's transience and mortality as well as its
vulnerability to the forces of nature. This contrasts with the unchanging nature of her love for
Heathcliff, which she likens to the creation of the cosmos and is unaffected by objective time.
Their love has a supernatural quality because of this imperishability, which makes it superior to
her choices for her marriage to Edgar because it is not governed by natural laws. Whatever our
souls are made of, his and mine are the same. This statement reminds me of the concept of
homooscious in the trinity: the concept of the same component making up the two identities.
This sensation of mutual love is further amplified by the duality of their nature. This also implies
that their love is something superior to the natural standards and laws that human bodies are
accustomed to, comparing the emotional to the tangible and elevating the latter.
The triumph of their desire at the novel's conclusion serves as further evidence of the greatness
of their love. Due to the nature of life and death, Catherine will still be separated from Heathcliff
when she passes away. Lockwood claims to have seen Catherine at the window, saying, "My
fingers closed on the fingers of a little, ice-cold hand." As a result, the window that Catherine's
ghost is haunting might be considered an extended metaphor of the partition separating the real
world from the paranormal one. When he was still alive, Heathcliff asked Catherine to haunt him
and broke into her coffin so they might attempt to cross the line between the normal and
supernatural and be together, but he was never successful in his goal. However, as Heathcliff
passes away, the sight of "the master's window flying wide" in the chamber where he was dying
gives the impression that they are all still together. The fact that the window blocking Catherine
for so long has become open means that Heathcliff has eventually overcome the obstacle
separating himself from Catherine. Joseph's allegation that they have seen them peering out of
the window "on every night since his death" lends credence to this. Because of cultural
limitations, this romantic notion argues that even though a couple's love isn't feasible in the
natural world, it surpasses this universe and endures forever.

As Cathy, an echo of Catherine begins to fall in love with Hareton, the social pariah echo of
Heathcliff, it is possible to claim that another generation becomes shadows of the last through the
novel's second half. In Cathy's statement of her love for Edgar, where she claims, "I love him
better than myself," this mirroring is evident. Cathy accomplishes what Catherine didn't and
rejects social expectations and prejudices to come to understand and love Hareton. In a way,
Cathy's actions virtually serve as an example of what Catherine might well have done with
Heathcliff. The novel's dualistic structure, which presents two generations' worth of stories—one
of which falls into society's expectations while the other defy them—suggests even more
strongly that love and passion ultimately triumph.

As a result, the novel makes numerous and varied comments about the sense of duality. Due to
cultural and natural demands, Heathcliff's dual nature analyzes the individuality of people's
identities and the duality inside one's nature, which also explores the veracity of the narration.
The two identities of Edgar and Heathcliff, and what they stand for, are used to examine this idea
of duality. Heathcliff represents the overwhelming love and emotion that the human condition is
subject to, and Edgar stands for societal expectations. As "reflections of a unified self,"
Heathcliff and Catherine exemplify the concept of doubles in this way (Rosemary Jackson). Last
but not least, the second section of the book, which tells the story of Hareton and Cathy's love,
further develops this idea of dualism between generations while illuminating the enduring quality
of passion as shown by the way Heathcliff and Catherine's love appears to merge with it. As
Bronte encourages the reader to engage and make their own decisions about the answers to these
questions on morality, identity, justice, and love that are consistently present throughout the
novel, the unreliability of narration itself serves as a synecdoche for the debates and questions
that the novel provides.