It almost makes Hamlet look silly. All his important internal struggle and angst, all his indecision, all the intrigues—how important everything within the palace seemed, to him and to everyone else involved. But all the time, they had no idea. They were focused on the wrong thing. The audience is left wondering—if they had shifted their focus and put aside internal grievances to make Denmark strong, what would have happened? If they had faced the actual, bigger threat of Fortinbras’ army instead of being distracted by internal turmoil, what would have happened?
Not to say the murder of Hamlet’s father and the grief and betrayal therein isn’t legitimate–but I also think survival is legitimate. That’s the problem with the trees you get distracted by–they’re all legitimate, but at what cost?
You can imagine what a viewing experience this was. My entire idea of this play was turned upside-down; the obsessive Fortinbras shots I at first thought strange and unnecessary, I soon realized were an insightful interpretation. That perhaps the inclusion and role of Fortinbras is not a plot convenience or odd loose end—perhaps it is a very subtle placement by the Bard, a very subtle point for his readers.
It is one of the tragic flaws of we, as a human species, to focus on the wrong things. We focus on the small bad in our lives instead of the huge good. We focus on internal concerns in a family, organization, or even country, at the peril of being a strong and successful whole and facing often greater external threats. We miss the forest for the trees.
Perhaps Hamlet’s tragic flaw is not, as many say, indecision. Perhaps he, and his entire country, were putting their energy towards the wrong things—self-destructive quests that destroyed everything around them.
The Phlox, in case the reader has not noticed (The Snottor is sure the reader has noticed), has been delinquent lately. There are a lot of things to distract her (that’s what she would tell you. The Snottor would tell you something infinitely more rude). She is currently up to her petals in non-blog-related things she is reading and writing. This, of course, wounds The Snottor. She clearly is a bit addled in the brain if she thinks that any other literary pursuits are above the smug grandeur of his blog—and of course, The Snottor being a Luddite at heart, he is helpless to curate and post his own content without her, a baffling reality indeed. (He thinks this post will have a little something for all the Luddites at heart).
Now, back to our haughty reviews of our favorite things. The Snottor, because of his prolonged abandonment, has had lots of time on his hands to read, and has thus discovered this interesting venture.
Mouse Book Club was recently launched by Kickstarter campaign (with the money donated shockingly exceeding the expected amount), and now has a website, podcasts, blog posts, and a wide array of its products to sell.
To see it yourself, and read their (the Phlox thinks far superior) definition of their product, visit their website HERE.
In essence, the Mouse Book Club hopes to start a quiet little revolution. It is manufacturing little books, the size of a smartphone, drawing on material in the public domain. As they say themselves, every piece is picked (and, in the case of longer works, excerpted) with care, and they are not meant to be consumable words. Rather, the fine folks at Mouse hope that these tiny books hold food for thought and the soul within their smooth pages.
They are the perfect size for a pocket, a purse, or a backpack; they are convenient for taxis, lines, airports, lulls, busses, awkward situations—to say the least, The Snottor is quite impressed. They are a handy substitute for the content one can sift through on a phone, highly curated and thoughtfully minimalist to boot.
Whether you explore Mouse or not, it does bring up an interesting idea—the use of spare time. We all have it, even the most busy, The Snottor asserts. What do you choose to do in those spare pockets? What meaningful, tiny moments could you be having?
The Snottor wishes the best, having delivered this erudite dispatch from the muddy Spring-flower trenches.
Hello! Why don’t we return to one of the old guard for this month’s posts—the Bard.
I believe it was Mortimer Adler that read Hamlet over again every year, gaining new insights with each look. You could say society is in the same bucket; new adaptations of this play focus on different things, and different waves of academics bring out one theme or focus, only to be surprised by a later insight from a different voice, highlighting another aspect of the story.
Kenneth Branagh’s adaptation of Hamlet did that for me. Here’s the backstory:
I’d read this play once before, and was reading it again this year for Literature. I’ve recently enjoyed indulging in adaptations (studying something is an easy excuse), and as you all have seen I’ve gone rather wild with Wuthering Heights. So I watched Branagh.
Reading Hamlet, I found Fortinbras a rather odd thorn. Perhaps a loose end. The arrogant, power-hungry Norwegian prince who conquers Denmark in the end. What was he doing there? He wasn’t in the story enough to really contribute to thematic significance, and his entrance at the end is almost random and seems quite the convenience for our esteemed author. However, Branagh gave Fortinbras more of a presence in his adaptation. Fortinbras already was sprinkled throughout the beginning of the play, but Branagh gave him more wordless shots, flashbacks, and made it always ominous. The viewer is definitely more aware of the threat he poses to Denmark, and of the dramatic irony that the Danes have no idea.
As the film progresses, so does Fortinbras’ looming figure. Branagh highlights the huge scope of the threat during one of Hamlet’s soliloquies as the camera zooms out, leaving Hamlet a speck before Fortinbras’ enormous army (which Hamlet has no idea is actually marching to Denmark).
Act 5 is the most marked difference of all. While in the play, Fortinbras only appears with his entrance at the end, his approach is frequently shown by Branagh, heightening the peril. The audience is agonizingly aware that, the whole of act 5, Fortinbras is swiftly taking a defenseless Denmark—and, again, Hamlet and crew have no idea. The action of act 5, the duels, the poisonings, that seem in the script so all-consumingly important, are constantly juxtaposed with shots of the massive approaching army. In Branagh’s version, Fortinbras is of as great importance, if not more, than the intrigue within Denmark.
Look out for the next installment, up later this month!
For the background to this analysis on Wuthering Heights’ Heathcliff, click HERE. For The Snot’s lovely review of several Wuthering Heights film adaptations, click HERE.
I don’t think Heathcliff’s intense passion and yearning for Cathy is romantic. I don’t think he’s really in love with here. In this post, I am offering my own humble analysis of this classic story, which I don’t think is a love story at all.
Basically, as I said last time, Cathy was the only experience Heathcliff ever really had with being loved and accepted for who he was. She was beautiful and free-spirited and how could he not fall in love with her; they kept each other from loneliness and despair, they shared freedom playing on the moors. Who hasn’t been infatuated with someone? Who doesn’t know what it feels like for the presence, or even the idea, of someone else, in reality or in imagination, to somehow make everything better?
I don’t think Heathcliff loved the real Cathy. Cathy wasn’t seduced to the dark side by the Lintons; her stay with them led her to discover new parts of herself. The Cathy that loved fine clothes wasn’t a fake part of her, as I’m sure Heathcliff would have liked to think; it was Cathy’s way of growing up. The reality of this shiny Cathy-bird is moodiness, self-absorption and selfishness, arrogance. She is a fair-weathered friend; she wants to have everything; she is infatuated with the idea that marrying Edgar would make her the finest woman in the neighborhood. Like many others throughout the course of human history, Heathcliff discovered that the person he loved was not what he idealized them to be. Cathy was a real, highly imperfect person. But Heathcliff was never able to accept the reality of Cathy. Instead, he clung to this idea of her, this perfect Cathy who made everything better, who would, if only he could have her, make everything better. Like magic.
Heathcliff suffered a lot in his life. He was regularly beaten and bullied all growing up; he was looked down upon, considered inferior, and generally without caring adults. He was often probably painfully lonely. I think Heathcliff’s obsession with Cathy was a coping mechanism, clinging in his suffering to this sure idea of a remedy.
Heathcliff and Cathy’s story to me is the sad reality that people are not what you thought they were, what you wish they were.
It is about how someone else can’t really ever fix your problems, no matter how much you want them to. It is about the tragedy of putting everything into longing for something outside of yourself to save you. In a way, Heathcliff was like a Disney princess, convinced that if only he could have his prince(-ess) charming, he would be delivered from all pain.
The tragedy also lies in all the possibilities. What would have happened if Heathcliff had accepted Cathy as she really was and let go? If he realized that his love for her wasn’t real love at all? Could he have made a nice life for himself with Isabella, would she be able to mature from her infatuation-with-the-bad-boy to have a nice relationship with him? Or could he have let go from his Cathy-preoccupation and become a social avenger, instead of a personal avenger, being the caring father for Hareton he had never had himself?
A lot of people love Heathcliff’s destructive passion for Cathy. And yes, it is destructive. It’s because, as I see it, it’s not love. Heathcliff’s desire for Cathy is so intense because he needs her to survive. He needs her to be free from himself. He needs her because if he can only, only have her, he will be alright.
I do not think Wuthering Heights is a love story. I think, by showing all the painful ways human relationships can turn—obsessive, abusive, selfish, etc.—Emily Brontë is showing us a profound story about love. Hareton and Catherine are mirrors of Heathcliff and Cathy, and at first their relationship is almost exactly parallel to their predecessors, with Catherine’s rude treatment of Hareton. Heathcliff’s tragedy is in that he was never able to change; in the very end, after all the problems, change is the antidote. Hareton and Catherine do just that, and Heathcliff finally realizes that he was focused on the wrong thing—this revenge that would somehow be meaningful—the whole time. He gives in to them.
The Phlox dismounts her soapbox. She takes a drink of water. She fends off the shocked, admonishing Snottor at how long these posts have been. She recalls her manners, and invites the reader to contribute their own views, as she is well aware she is nowhere near right. This is a book she intends on living with the rest of her life, and will likely one day think this opinion-dump a very silly affair indeed, but she did want to share this different perspective she has been considering. Thoughts?
It’s likely you’ve heard of Heathcliff, the tormented protagonist of Emily Brontë’s Wuthering Heights. It is likely, also, that you have an opinion on him. Generally these seem to go in two directions.
Opinion 1: Heathcliff is a romantic, seductive, tortured Byronic Hero. You are in love with him. His unbridled passion and emotion are the heights of romance. The passion is unbearable.
Opinion 2: Heathcliff is terrible, you find it impossible to sympathize with him at all. He is an abusive villain; he is selfish, he beats women and hurts helpless dogs, etc. He is horrifying in every way.
I am not really in either camp. In my reading of Wuthering Heights, I scoured the internet, trying to see if anybody felt the way about Heathcliff I did. Alternating opinions were scarcer than I would have thought: and so I realized I’d better contribute to this discussion, and write about it myself.
First I’m going to provide some background on Wuthering Heights, and on this elusive Heathcliff himself, in case the reader is not familiar with him. If you don’t want the spoilers, or already know it all, feel free to skip to part two of this post, which contains my analysis.
Wuthering Heights takes place on the English moors, focusing on two families largely removed from society. The Earnshaw family adopts Heathcliff, a child found by Mr. Earnshaw on the streets of Liverpool, whom Mr. Earnshaw prefers to his own son, Hindley. Hindley bullies Heathcliff as they grow up; Cathy, Mr. Earnshaw’s daughter, is wild and willful and Heathcliff’s only friend.
After Mr. Earnshaw dies, Hindley comes back and takes over Wuthering Heights, a tyrannical ruler. After his wife’s death, he descends into alcoholism, becoming even more abusive to Cathy and Heathcliff, whose only escape is to the moors where they are free.
At the age of twelve things change for Cathy. The Lintons are the other family on the moor, considerably more cushy and upper-crust than the grim inhabitants of Wuthering Heights. Cathy makes a stay with them after she is attacked by their dog. When she returns Heathcliff hardly knows her; she has, for the first time in her life, been treated like a lady and been given comforts. She becomes (more) arrogant, likes fine clothes, and suddenly finds Heathcliff lacking.
Enter Edgar. He’s the son of the Linton’s, and as a boy he’s a cry-baby and something of a wimp. Cathy has him over a whole lot more; Edgar’s shinier object than Heathcliff, who withdraws further at his usurpation.
Eventually Edgar asks Cathy to marry him. Cathy is torn and talks to Nelly, the servant, about it, unaware that Heathcliff is laying down unseen in another part of the room. When she gets to the part about how it would degrade her to marry Heathcliff, he leaves, missing, with tragic irony, the next part of her speech, where she explains to Nelly just how deep her love for Heathcliff is, unlike the changeable love she knows she has for Edgar.
Heathcliff is gone for three years. Cathy marries Edgar; she is strong-willed as ever and bends soft-willed Edgar and his sister Isabella to her will, and thus they all get along quite well, and Nelly thought that Edgar and Cathy were really on the path to happiness before Heathcliff came back.
Heathcliff returns, a gentleman, mysteriously wealthy. The only thing that has sustained him, all the miserable years making something of himself, was the thought of Cathy; Edgar at first lets Heathcliff hang around, but there are eventually some confrontations, as sparks fly between Heathcliff and Cathy. Meanwhile Heathcliff lives at Wuthering Heights, taking his revenge on Hindley by ruining him through gambling etc.
Cathy cannot abide having to choose; when Edgar tries to force her to choose between himself and Heathcliff, she, in an emotionally manipulative move, falls ill (at first it seems to be all show). However, soon it is not all show. Cathy really loses it.
Meanwhile, before Cathy’s illness, Heathcliff ran off with Isabella, who had a crush on him, as a sort of revenge on Cathy. He demonstrated his brutality to Isabella beforehand by hanging her spaniel, and she still runs off with him. Nelly rescues the spaniel.
Heathcliff abuses Isabella. Cathy becomes more and more weak and sick. Heathcliff sleeps in Cathy’s old room, in the old oak paneled bed they used to share as children, keeping anyone else out; upon hearing of Cathy’s significant decline, he forces Nelly (now working at Edgar’s) to arrange a final meeting between him and Cathy.
This meeting is tortuous. Cathy is weak and ill, and they cling to each other in agony. It is not that romantic, however—they are both bitter, they blame each other, she tells him that he and Edgar have killed her, it’s pretty miserable. Edgar bursts in, Cathy faints, Heathcliff hands her to him and escapes.
Heathcliff waits all night in the orchard. Cathy, who is seven months pregnant, delivers her child and dies. Nelly tells Heathcliff the news in the morning and he, a man who seldom shows strong emotion, wails and bangs his head against a tree until it bleeds. He wishes aloud that Cathy will wake in torment, not in the peace Nelly suggests, and, as she said that Heathcliff killed her, begs her to haunt him.
Heathcliff eventually kills Hindley in a confrontation; Isabella eventually escapes, has Heathcliff’s child and dies alone in London (Edgar disowned her when she ran off with Heathcliff).
Edgar matures considerably as a character. He cared for Cathy unceasingly in her illness, and, although becoming somewhat of a recluse after her death, gives all love to their daughter, Catherine.
Heathcliff becomes master of Wuthering Heights, living there with Hindley’s son, Hareton, who Heathcliff degrades in further revenge to Hindley, just in the way Hindley degraded Heathcliff.
When Isabella dies, her son Linton is sent to Edgar, but Heathcliff quickly claims him. Linton is sickly and is abused by Heathcliff, who keeps him living in fear.
Catherine (junior) is lonely and restless, locked up as she is in her father’s house. She loves the moors, like her mother, and is constantly trying to explore further. One day she meets Heathcliff, about whom Edgar has kept all knowledge from her, who takes her to Wuthering Heights. She reunites with Linton, and they become fast friends.
The two exchange love letters for awhile; soon they see and play with each other. Heathcliff encourages their marriage, but the longer Catherine knows Linton the less she is impressed by him. He is whiny and pitiful, and declines. She begins to get cold feet, but whenever she does Linton betrays his debilitating terror of his father, of what Heathcliff will do to him if he does not successfully marry Catherine.
Eventually Catherine is forced to marry Linton. She’s locked up in Wuthering Heights, and has no choice. Heathcliff hits her mercilessly when she tries to fight back against his master scheme.
After she marries Linton, she is able to escape just in time to be at Edgar, her father’s, deathbed. The moment Edgar is dead Heathcliff arrives, and tears Catherine away.
Linton dies. He had been getting more and more ill, and this was all part of Heathcliff’s plan—because when Linton dies, Heathcliff gets control of Edgar’s house. He now has complete control of everything.
Catherine is miserable. She has nothing; she is trapped in Wuthering Heights with no living family members, no friends, and just the cruel Heathcliff and discounted (by her) Hareton. Hareton thinks she’s kind of cute, and tries to get to know her, but his advances are cruelly denied, and Catherine talks to him in the same way—calling him dumb and stupid, bad company—that Cathy, her mother, did to Heathcliff. Hareton responds angrily. It seems as if history is repeating itself.
However, history does not repeat itself. Nelly tells Catherine that it was cruel of her to behave so—Cathy never used to listen to admonishments—the point is that Catherine changes. She apologizes to Hareton. Hareton apologizes for his harsh words in response to Catherine’s; they forgive each other, something Heathcliff and Cathy were never able to do. Catherine begins to teach Hareton to read, lifting him up from the ignorance Heathcliff had deliberately kept him in.
Heathcliff has been losing it more and more. The departed Cathy keeps a tighter and tighter hold of him; he even digs up her grave, laying next to her corpse, at one point. He becomes more and more distracted, but one night, as he comes back in from his moor-wanderings, he is stunned to be greeted by two pairs of Cathy-reminiscent eyes (Hareton’s especially), looking up from the book they are sharing. Despite all of Heathcliff’s attempts, love has blossomed in Wuthering Heights. He is stunned.
Heathcliff lets go. He lets Hareton and Catherine be; he loses the will to continue his revenge any longer, as he explains to Nelly, who is gravely concerned—he tells her he feels a change coming, but he doesn’t know what it is. He forgets to eat, sleep, he is always distracted; he roves the moors, late at night. They find him dead, one morning, in Cathy’s old oak-paneled bed, the window hanging open, drenched in rain, smiling.
Hareton loved Heathcliff, despite Heathcliff’s mistreatment of him; he was the closest thing to a father Hareton ever had, and he insists on a fine burial. Heathcliff, Cathy, and Edgar’s gravestones stand side by side. Hareton and Catherine revitalize Wuthering Heights with flowers and happiness, but leave it, for Edgar’s old house, where they will live together.
A lot to take in? I know. You should read it (it’s mind-blowing). Here’s the point:
Nobody ever loved Heathcliff. He was an ethnic “other” to the characters, although his ethnicity is never specified; characters describe him as dark-complexioned, and rudely refer to him as “gypsy”. Some people think of him as a member of the Roma people, others as being African, and having come to Liverpool (where he was found by Mr. Earnshaw) through its infamous slave-trade.
What’s the point? He was treated and spoken to, often, as if he was inhuman. Cathy was the only one who treated him like he was an ordinary person; they escaped together from the cruel rule of Hindley, they were free on the moors. Cathy was the only place Heathcliff ever knew feeling good, feeling loved. Cathy was then “stolen” by Edgar; Cathy died. Earth became hell to Heathcliff, because he couldn’t have her.
But what’s the real point to all this? What did Heathcliff teach me? Why don’t I think this is a love story? You’ll have to read part 2 to find out. Find it HERE.