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Both Fyodor Dostoevsky and Emily Bronte perceive moral transgression as an escape from

Christian ideals in search of a higher reality, in their respective novels Crime and Punishment
and Wuthering Heights.
To what extent do you agree with this statement?

At the beginning of Crime and Punishment Raskolnikov isolates himself from society; embarking on a
self-imposed retreat in order to seek enlightenment through intellectual abstraction. There is a
subtle irony within Raskolnikovs actions; his deliberate separation from Russian society has the
markings of a traditionally Christian retreat except his pursuit is not for the strengthening of
religious faith, rather it is described by Dostoevksy as an experiment. Thus it may be argued that
Dostoevsky has directed his protagonist to parody a traditionally Christian custom as a means to
prove the scientific rationality behind a set of secular modernistic beliefs. These secular beliefs are
convincingly caricatured through a choice selection of supporting characters such as the student and
policeman; who engage in a game of intellectual abstraction. Although Dostoevsky ascribes the
game to be trivial talk, the subject discussed is disturbingly pernicious as it concerns the murder of
a sickly, stupid, ill-natured old woman. Hence by tagging the murder as an experiment or game
the ironically light-hearted use of metaphor highlights the dangers of engaging in intellectual
abstraction, as it removes the student (whose argument runs parallel with the development of
Raskolnikovs thoughts) from conventional moral inhibitions to such an extent that the student
boasts that he could kill the old woman without the faintest conscious-prick. The students
ambition mirrors Raskolnikovs desires to break free from societal conventions by giving a
distinctively Utilitarian argument, as he considers the life of the pawnbroker to be No more than/ a
louse...a black beetle, less in fact.... Dostoevsky delves further into Utilitarianism with notion of an
exchange of lives as for one life thousands would be savedits simple arithmetic! By traditionally
using the rationale of Mathematics to champion Utilitarianism, Dostoevsky cleverly conflates a
narrative of murder into one of hopeful emancipation. However the potential moral victory of a
murder is dampened by the considerations of the policeman as he asks the student to contemplate
whether [he] would kill the old women [himself]? The student readily denies highlighting the moral
inhibitions of a law-abiding society once the game of intellectual abstraction is superseded by
reality. Although the students construction is designed to exaggerate his abilities to commit
murder, a sensitive psychoanalytic reading could interpret the inconsistencies of an individual who is
voided of conscience and yet unable to conduct murder, to be Dostoevsky inserting a
deontological argument of intrinsic evil surrounding the crime of murder, positioning his readers to
raise doubts upon Raskolnikovs abilities to emerge unscathed from transgressing conventional
moral code in his eager pursuit of secular beliefs.













1. Wuthering Heights: Heathcliffs search for higher reality is a narrative of revenge against a
Christian society that seeks to isolate and subjugate the bond shared between him and
Catherine. [FULFILS HIGHER REALITY]
Purpose: Introduce the beginnings of Heathcliffs quest for vengeance, the ultimate sin
committed against him is Catherines betrayal.
Both Fyodor Dostoevsky and Emily Bronte perceive moral transgression as an escape from
Christian ideals in search of a higher reality, in their respective novels Crime and Punishment
and Wuthering Heights.
To what extent do you agree with this statement?

Point: Despite being poor, dispossessed and despised like Raskolnikov Heathcliffs lack of
education disarms him from journeying into a similar path of intellectual abstraction, he is
driven by vengeance for Cathys betrayal of their love. Heathcliffs style yes lacks Academic
discourse, poetic style romantic poet - incredibly naturalistic talent. Poetic power of
Hetahcliffs diction. Heathcliff consumes other other voices. Brilliance to him. Linton Archaic
UNALBE TO EMPATHISE WITH DOES NOT CONTAIN HIM HE SPEAKS THROUGH NARRATIVE
FRAME CONNECTION TO PARADISE LOST- SATAN ABLE TO SPEAK THROUGH
He was of the devils party without knowing it Paradise Lost
Evidence:
Evaluation: Readers are positioned to sympathise with Heathcliff in their eagerness to fulfil
the romantic conventions. Manipulation of the reader through the spiritual elements of
their love which has ties to nature. Having been rejected from Christian society, they find
solace in the moors as they develop a Rousseian childhood. Eclipsed by Catherines betrayal
for higher-society. A02 ON CATHERINES FALL- AFTER BEING BITTEN BY BULLDOG FALL. The
ALLure of Christian ideals, yet Heathcliff rejects, Domestic realm being representative of a
Christian realm. The harshness of Heathcliff direct contradicts the possible existence of the
domestic paradise
Conversely in Brontes Wuthering Heights, despite being poor and dispossessed like Raskolnikov
Heathcliffs lifelong persecution had extinguished any curiosity he once possessed in the pursuit of
knowledge Instead Heathcliffs search for a higher reality is driven by an unceasing quest for
vengeance against a distinctly Christian society that had sought to subjugate and persecute him. The
formal education of Heathcliff and his soul mate: Catherine is seen to be one predated by
punishment and cruelty as The curateset as many chapters as he pleased and Joseph might thrash
Heathcliff as a result Bronte encourages them to flee from the teachings of a Christian society and
instead pursue a Rousseauian education amongst the wilderness of the moors and become as rude
as savages. The negative connotations surrounding the naturalistic development of Heathcliff and
Catherine exemplify Brontes clever use of the novels Chinese Box Structure to further vilify
Heathcliff within the hostile and pejorative narrative frame of Nelly. Yet despite her best efforts,
Nellys narrative frame is unable to deny Heathcliff a sense of admiration for his remarkable inner
strength
obscure the voice of Heathcliff completely as Bronte gifts Heathcliff an incredible naturalistic ability
to traverse
Yet despite her obvious dislike for the Black villain Nelly
further as he is confined to remain within the hostile narrative frame
to Although the negative connotations surrounding their development are made my Nellys Their
naturalistic education becomes more apparent as their relationship deepens.
Both Fyodor Dostoevsky and Emily Bronte perceive moral transgression as an escape from
Christian ideals in search of a higher reality, in their respective novels Crime and Punishment
and Wuthering Heights.
To what extent do you agree with this statement?

oppressive nativity of the gipsy brat forces Heathcliff and his soul mate: Cathy to flee from their
formal education and instead seek a Rousseauian education amongst the moors and be as rude as
savages.
Bronte also utilises the Chinese Box Structure to vilify The teachings that The oppressive nativity of
the gipsy brat forces Heathcliff and his soul mate: Cathy to flee from the Earnshaw household and
be as rude as savages in the moors; this parody of a Rousseauian childhood naturalistic education
exposes the social context of the novel as Heathcliffs low stature immediately earns him the
reputation of being a devil amongst the other characters whilst the splendour of the privileged
Linton familys upperclass life in Thrushcross Grange is likened to being in heaven itself! Heathcliff
and his soul mate Cathy
Thus Bronte exemplifies the remarkable differences between Heathcliffs tortured upbringing and
the
marries the concepts of upper class and heaven to one another, which result in the heavy contrast of
Heathcliff and Cathys savage Rousseauian childhood to the blue eye[d].
intimate relationship between Heathcliff and Cathy is purely naturalistic as Cathy The privileges and
security of the Lintons is contrasted heavily with the savage Rousseauian when they confront one
another, Bronte uses the allure of heaven to separate Heathcliff from his s companion falls prey to
the allure of entering heaven. Thus Heathcliff is deprived
Bronte also uses the literary Chinese Box Structure to vilify Heathcliff, trapping the gipsy brat within
Nellys hostile narrative frame. Through Nelly the savage brute is. Yet despite there is an
undeniable attractiveness surrounding his badnature, Heathcliff is able to speak through the
narrative frame and consume The constant comparison and rejection from of Heathcliff is
exacerbated further through the effeminate Edgar Linton
Despite being an accomplished former student Dostoevsky directs Raskolnikov to be so badly
dressed that even a man accustomed to shabbiness would have been ashamed in order to
completely divorce himself from Russian Christian Society. Though this greatly exaggerated shabby
portrayal is further extenuated through the impoverished revolting misery of the picture of St
Petersburg - the insufferable stench from the pothouses...drunken men... Dostoevsky abruptly
alters the narrative progression of his protagonist by isolating him yet again, this time sharply
contrasting the filthiness of the scene by taking sudden notice of Raskolnikovs beauty, as He was
by the way exceptionally handsome, above average...beautiful dark eyes... The phrase by the way
creates break in the scenes of misery surrounding Raskolnikov, replacing it with a lighter, civil tone
of poetic conversation that succeeds in conveying the sublime beauty that is trapped behind his
self-imposed cloak of repulsiveness. Hence, Dostoevsky has masterfully varied the degree of
narrative tone and imagery to influence his readers to perceive a repugnant Christian society in
sharp contrast with his beautiful protagonist. The particularly romantic depiction of Raskolnikovs
sublime beauty perhaps serves to convince readers that Raskolnikov is a Romantic hero. The
suggestive use of this literary archetype is crucial in fulfilling the Hegelian interpretation of a hero
as it implicitly rewards his character an inherent right within the Romantic conventions to pursue
Both Fyodor Dostoevsky and Emily Bronte perceive moral transgression as an escape from
Christian ideals in search of a higher reality, in their respective novels Crime and Punishment
and Wuthering Heights.
To what extent do you agree with this statement?

anoble and just cause successfully maintaining Raskolnikovs position on the moral high-ground
despite his intentions to commit a murder.

Even the appearance of the Lintons Brontes constant portrayal of Heathcliff being attributed to
being There are constant attempts to rake scorn upon Heathcliff, yet his vindictive attitude speaks
through the narrative frame itself
, compared to and rejected from the upper echelons of society. Under the direction
Black villain.
Having been rejected as savages from Bronte manipulates the reader through the spiritual
elements of their love
These external forces are centred on Heathcliffs social disposition Bronte uses the literary Chinese
Box Structure to vilify Heathcliff, trapping the gipsy brat within Nellys hostile narrative frame.
Through Nelly the savage brute is. The oppressive nativity of the gipsy brat exposes the social
context of the novel as Bronte introduces the social trappings of Heathcliffs unknown parentage

seeks to subjugate the bond shared between him and his soul: Catherine Cathy Earnshaw. Bronte
manipulates readers into exposure to the

Conversely, in Brontes Wuthering Heights the protagonist Heathcliff is moulded into the role of a
social outcast at the forceful instigation of external forces from which he is powerless to resist.
Through the oppressive nativity of the gipsy brat Bronte exposes the themes of class subjugation,
particularly through the imposition of repressive Christian influences by the Earnshaw household.
Bronte makes numerous references to Christianity such as the dislikeable sycophant Joseph, who is
crucial in undermining Christianity as his character has ransacked the Bible[to] rake promises on
himself, and fling curses at his neighbours. Josephs beliefs are an embodiment of a religion of hate
as unlike Earnshaw Seniors view that Heathcliff is a gift of god, Joseph constantly likens Heathcliff
to the divil imself.

Hence like Miltons Paradise Lost is made more apparent at his and the curates persecution of
Heathcliff. is religion is described to have been ransacked [from] the Bible thus giving it distinct
Christian qualities. He , to add to his dislikeable characterisation Bronte his sycophantic nature
Yorkshire vernacular is crucial in circulating readers dislike
Nellys regretful reflection is especially effective in conveying the injustice suffered by the poor,
fatherless child. Despite her hostile narrative, Nelly admits the inconsistencies of her devilish
portrayal of Heathcliff as he possesses some distinctly angelic features being the quietest child
Both Fyodor Dostoevsky and Emily Bronte perceive moral transgression as an escape from
Christian ideals in search of a higher reality, in their respective novels Crime and Punishment
and Wuthering Heights.
To what extent do you agree with this statement?

that ever nurse watched over...a lamb; though hardness, not gentleness... Bronte implicitly
expresses Nellys admiration and gratitude for Heathcliff by stressing the virtues of his hardness
and strength in comparison to the weaknesses of the effeminate Earnshaw children who harrassed
her. In fact, the cruelty of Hindley and the mischievousness of Catherine Earnshaw in direct
contrast to the lamb Heathcliff could portray him as a suppressed angelic figure and the other
children as the devils. Thus the twisted Nativity of Heathcliff to the Heights may be Emily Brontes
criticism for the Churchs prejudices against others and justification for Heathcliffs first tentative
steps away from Christian Ideals.

marginalised from experiencing privileges of engaging himself in the streams of intellectual
abstraction. The oppressive nativity of the gypsy brat is evidently intended to vilify Heathcliff as the
Chinese Box Structure limits the voice of Heathcliff to reside within the hostile narrative frame of
Nelly who
echoes the social context of Wuthering Heights as the persecution of Heathcliff The social context of
as Bronte directs a slew of characters to marginalise and persecute the gypsy brat. There are clear
social precognitions that Bronte the intellectual development of Heathcliff is non-existent as barred
from receiving the privileges of the Earnshaw and Linton into the role of a social outcast by a cast of
remorseless characters. The nativity of Heathcliff is portrayed to be a vilified Satanic hero
oppression by the a family that refuses to accept him.
intellectual development by his persecution at the hands of distinctly Christian characters. The
nativity of Heathcliff is also limited The hostile narrative frame labels . a him from pursuing a similar
path of enlightenment. The social Despite his obvious As a consequence of Wuthering Heights
Chinese box structure of the narrative frame that Heathcliff is confined to is decidedly hostile. This is
evident in the nativity of the gipsy brat as Bronte continually compares the distinctive differences in
class.
Rather than suppressing his desires to deviate from, Heathcliffs persecution of intellectual
development fuels his Hence the nativity of the gipsy brat is clearly written by Bronte to turn the
characters and the ,
A sense of prejudice is immediately made apparent as Heathcliff is labelled a gipsy brat through
allows causes Miltons Paradise Lost the readers are of the devils party
Bronte makes a clear alienation from . A key example to this unjustified persecution, is the
sycophant Joseph is a key example His physical separation runs parallel with his spiritual rejection
of Christian values. any intellectual influences are swiftly of an intellectual hence Heathcliffe turns
towards a naturalistic escape from the Christian influences which have been , bigot
Despite being poor, dispossessed and publically despised like Raskolnikov Heathcliffs lack of
education disarms him from journeying onto a similar path of intellectual abstraction instead he is
Both Fyodor Dostoevsky and Emily Bronte perceive moral transgression as an escape from
Christian ideals in search of a higher reality, in their respective novels Crime and Punishment
and Wuthering Heights.
To what extent do you agree with this statement?

driven by a passionate vengeance for Cathys betrayal of their love. Heathcliffs style lacks
Academic discourse, poetic style romantic poet - incredibly naturalistic talent.
Poetic power of Hetahcliffs diction. Heathcliff consumes other other voices. Brilliance to him.
Linton Archaic UNALBE TO EMPATHISE WITH DOES NOT CONTAIN HIM HE SPEAKS THROUGH
NARRATIVE FRAME CONNECTION TO PARADISE LOST- SATAN ABLE TO SPEAK THROUGH


2. Justification of Raskolnikov: THE ROMANTIC HERO
Purpose: Link the philosophical Hegelian concept with the literary archetype of the Romantic
Hero through Raskolnikov
Point: Dostoevsky exposes his readers to a set of secular modernistic beliefs by sending
Raskolnikov on a retreat, divorce of Raskolnikov from society and Utilitarian
Evidence:
Evaluation: Subtle irony of an intellectual retreat; an experiment is used to fulfil intellectual
abstraction instead of strengthen religious faith. It is a parody of a traditionally Christian custom
to prove the scientific rationality of secular modernistic beliefs.

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