Kylie McCalmont

The Dark Side of the Moors

Emily Bronte

Wuthering Heights

http://kyliemccalmontprojecblog2016.blogspot.com/

Learning Objectives:

        After listening to the presentation, the audience should be able to further understand both Gothic and Victorian literature as well the time period. In addition, they should be able to identify Emily Bronte’s style of writing and recognize her argument that the Victorian time period will never conceal the authentic desires that were accepted in the Gothic Era. Also, the view should be able to identify romantic aspects in literature and in Wuthering Heights.

Helpful Literary Devices:

Gothic Imagery:  elements of fear, horror, death, and gloom, as well as romantic elements, such as nature, individuality, and very high emotion.

Pastel Imagery: dealing with shepherds or rural life in a usually artificial manner and typically drawing a contrast between the innocence and serenity of the simple life and the misery and corruption of city

Pathetic Fallacy: attributing of human emotion and conduct to all aspects within nature.  

“Alone” by Edgar Allan Poe

From childhood’s hour I have not been

As others were—I have not seen

As others saw—I could not bring

My passions from a common spring—

From the same source I have not taken

My sorrow—I could not awaken

My heart to joy at the same tone—

And all I lov’d—I lov’d alone—

Then—in my childhood—in the dawn

Of a most stormy life—was drawn

From ev’ry depth of good and ill

The mystery which binds me still—

From the torrent, or the fountain—

From the red cliff of the mountain—

From the sun that ’round me roll’d

In its autumn tint of gold—

From the lightning in the sky

As it pass’d me flying by—

From the thunder, and the storm—

And the cloud that took the form

(When the rest of Heaven was blue)

Of a demon in my view—

Notes:

Romanticism-

Who was Emily Bronte?

What made up Gothic literature?

Prose Passage from Wuthering Heights by Emily Bronte

(1)Merely, the branch of a fir-tree that tou-

ched my lattice, as the blast wailed by,

and rattled its dry cones against

the panes! I listened doubtingly an instant;

detected the disturber, then turned and

dozed, and dreamt again: if possible,

 still more disagreeably than before.

This time, I remembered I was lying

(9)In the oak closet, and I heard distinctly

the gusty wind, and the driving of the

Snow: I heard, also, the fir-bough repeat

Its teasing sound, and ascribed me so much,

That I resolved to silence it, if possible;

And, I thought, I rose and endeavoured to

Unhasp the casement. The hook was sol-

dered into the staple: a circumstance ob-

served by me when awake, but forgotten.

(18)“I must stop it, nevertheless!” I muttered,

Knocking my knuckles through the glass,

And stretching an arm out to seize the im-

Portunate branch: instead of which, my

Fingers closed on the figures of a little, ice-

Cold hand! The intense horror or night-

Mare came over me: I tried to draw back

My arm, but my hand clung to it, and a

melancholy voice sobbed, “Let me

(27)in--- let me in!” “Who are you?” I asked,

Struggling, meanwhile, to disengage my-

Self. “Catherine Linton,” it replied, shiv-

eringly (why did I think of Linton? I had

read Earnshaw twenty times for Linton);

“I’m come home: I’d lost my way on the

Moor!” As it spoke, I discerned, obscurely,

A child’s face looking through the window.

Terror made me cruel; and, finding it use-

(36)Less to attempt shaking the creature off, I

Pulled its wrist on to the broken pane, and

Rubbed it to and fro till the blood ran down

And soaked the bedclothes: still it wailed,

(40)“Let me in!” And maintained its tenacious

grip, almost maddening me with fear.

“How can I?” I said at length. “Let me 

Go, if you want me to let you in!” The

Fingers relaxed, I snatched mine through

the hole, hurriedly piled the books up in a

Pyramid against it, and stopped my ears

(47)To exclude the lamentable prayer.