A blog for the comprehensive understanding of Literature, Applied Linguistics and ELT

January 21, 2018

George Bernard Shaw Quick Facts

George Bernard Shaw was an Anglo-Irish playwright, literary critic, and novelist.

George Bernard Shaw Quick Facts


  • Birth Name: George Bernard Shaw
  • AKA: Bernard Shaw
  • Date of Birth: July 26, 1856
  • Place of Birth: Portobello, Dublin, Ireland
  • Zodiac Sign: Leo
  • Death: November 2, 1950
  • Place of Death: Ayot St. Lawrence, United Kingdom
  • Cause of Death: Kidney dysfunction after falling from a ladder
  • Ethnicity: White
  • Nationality: Irish & British
  • Height: 6 ft 2 in
  • Place of Burial: Cremated (ashes scattered in different places)
  • Father: George Carr Shaw (1814–1885)
  • Mother: Lucinda Elizabeth Shaw (1830–1913)
  • Siblings:
  1. Sister- Lucinda Butterfield (1853–1920)
  2. Sister- Elinor Shaw (1855–1876)
  • Sexual Orientation: Straight
  • Spouse: Charlotte Payne-Townshend (m. 1898 –1943) (b. 1857– d.1943)
  • Children: None
  • Alma Mater: Wesley College
  • George Bernard Shaw was Known for: incorporating comic and complex elements to unveil social evils, and exploring philosophical ideas
  • George Bernard Shaw was criticized for: NA
  • George Bernard Shaw was influenced by: Arthur Schopenhauer (1788 –1860), Richard Wagner (1813 –1883), Henry David Thoreau (1817 –1862), Karl Marx (1818 –1883), Henrik Ibsen (1828 –1906), William Morris (1834 –1896), W. S. Gilbert (1836 –1911), Henry George (1839 –1897), Friedrich Nietzsche (1844 –1900), Joseph Stalin (1878 –1953), and Agustus Montrose.
  • Shaw’s works inspired: T. S. Eliot (1888–1965), Noël Coward (1899–1973), Peter Nichols (b. 1927), Henry Livings (1929–1998), Tom Stoppard (1937), and Alan Ayckbourn (b. 1939)

Notable Awards

  • Nobel Prize in literature (1925) “for his work which is marked by both idealism and humanity, its stimulating satire often being infused with a singular poetic beauty"
  • Academy Award (1938) for the film adaptation of Pygmalion.


“You use a glass mirror to see your face; you use works of art to see your soul.”
― George Bernard Shaw, Back to Methuselah

Did You Know?

  • Bernard Shaw was the youngest child and the only son of George Carr Shaw and Lucinda Elizabeth Shaw.
  • During his childhood Shaw went to numerous educational institutions, all of which he detested.
  • Shaw wanted to refuse the Nobel Prize in literature, but ultimately accepted it since his wife insisted that it was a tribute to Ireland.
  • Although Shaw accepted the 1925 Nobel Prize, he refused the prize money, arranging instead for the money to go toward funding the translation of Swedish literature into English.
  • During lifetime, Shaw produced more than fifty plays and three volumes of music and drama criticism.
  • Many critics consider Shaw as the greatest English dramatist since William Shakespeare.
  • In 1893 Shaw Published his first play, Widowers' Houses, which he described as an "unpleasant" play.
  • He used the pseudonyms "GBS" and "Corno di Bassetto" as a columnist.
  • Shaw was a vegetarian, and kept himself aloof from alcohol or coffee.
  • It is rumoured that he and his wife never consummated sexual relationship.
  • During his lifetime Shaw maintained relationship with many women which he continued even after marriage.


January 7, 2018

“The Rape of the Lock” as a Mock-heroic Poem

The Pseudo-classical poet Alexander Pope has been widely hailed as the unchallengeable master of the heroi-comical poetry. This very reputation stems heavily from his brilliant and playful implementation of mock-heroic traditions into his long narrative poem The Rape of the Lock. The poem, without a contest, is the most exquisite paradigm of mock-heroic poetry that can be found in English literature.

Heroic or epic poems, such as Homer's Iliad and Odyssey, Virgil’s Aeneid, and Milton’s Paradise Lost deal with the deeds and adventures of heroic or legendary figures in elevated style and serious manner. Contrariwise, the mock-heroic poem is a poetic form based on the traditions and devices of a serious epic to deal with a trivial theme by placing it in a framework entirely inappropriate to its importance, thereby producing ingenious humorous effect.

The subject poem, The Rape of the Lock imitates almost all the traditions of the serious epic except the serious theme. In fact, the main incident of the poem is snipping off a lock of hair of a pretty young woman and an ensuing battle. However, Pope treats the incident as if it were comparable to events that instigated the Trojan War. In this way Pope elaborates a trivial episode into a playful and fanciful heroi-comical poem resembling an epic in miniature.

The poem begins with an invocation in epic tradition. However, instead of a divinity, Pope dedicates the poem to his and Arabella Fermor's friend John Caryll, who originally asked him to write it, and to Belinda that is, Arabella, the woman the poem is purportedly about:
“WHAT dire Offence from am'rous Causes springs,
What mighty Contests rise from trivial Things,
I sing—This Verse to Caryll, Muse! is due;
This, ev'n Belinda may vouchsafe to view:
Slight is the Subject, but not so the Praise,
If She inspire, and He approve my Lays.”
To be contextual, the poem is based on an actual episode that provoked a quarrel between two families. Lord Petre had cut off a lock of hair from the head of Arabella Fermor, which caused much indignation on the part of the lady and her family.

Pope also uses supernatural machinery; but instead of gods and goddesses of the classical epics he uses petty spirits like Sylphs, Nymphs, Genomes and Salamanders. We see that the Sylphs are taking care of Belinda as the gods and goddesses in the classical epics would side the heroes when there is a fight:
“Propp’d on their bodkin spears, the sprites survey
The growing combat, or assist the fray.”      
The minuscule spirits play a significant role in the dramatic, thematic and structural development of the poem. Pope intentionally employs them to maintain the triviality of the theme. We laugh when we compare the activities of the tiny spirits with those of the gods and goddesses of epic poems.

Journey to the underworld is another common convention of an epic. Like supernatural beings in the classical epics, the gnome Umbriel descends to the Underworld on Belinda’s behalf and obtains a magical bag full of female screams and cries, and a vial of tears and sorrow from the Queen of Spleen. Umbriel’s intention is to relief Belinda from her mental distress by agonizing her opponents. However, Umbriel puts Belinda into more trouble by dumping the entire contents of the bag over her head instead. Here, it is obvious that Pope designed Umbriel’s journey to the Cave of the Spleen with a view to make fun of the visits of epic heroes to the underworld:
“Umbriel, a dusky melancholy Spright,
As ever sully'd the fair face of Light,
Down to the Central Earth, his proper Scene,
Repairs to search the gloomy Cave of Spleen.”
Dangerous journeys on water are a traditional trait of a serious epic. But here in the poem Belinda takes a relaxed journey on water without any danger. She travels up the Thames in a boat to join Hampton Court to play the game of Omber. Her voyage recalls the voyage of Aeneas on Tiber in Virgil’s epic poem Aeneid.

Like serious epics we have use of weapons and arming of the epic hero in The Rape of the Lock. However, the weapons do not consist of shinning swords and mighty shields but trivial objects like hairpins, cosmetics and amorous looks. Belinda’s dressing is compared to the arming of the epic hero like Achilles described in Homer’s The Iliad:
“Here files of pins extend their shining rows,
Puffs, powders, patches, Bibles, billet-dout.
Now awful Beauty puts on all its arms;”
An epic poem is incomplete without battle episodes. Therefore, to maintain such tradition Pope has introduced a number of battle scenes. For example, the game of Omber suggests a mighty battle. Again there is the battle between the lords and ladies fought with fans and snuff. Moreover, there are single fights between Belinda and the Baron and between Clarissa and Sir Plume.

Pope creates a serious mock-heroic effect by employing various similes and metaphors akin to Homer and Milton. For example, at one place he compares Belinda’s eyes with the bright sun. Again, at another place he ironically compares her with Queen Dido and Helen. However, the funniest comparison is made between Belinda's petticoat with the famous Shield of Ajax which was described in Book VII of The Iliad:
“We trust th' important charge, the petticoat:
Oft have we known that sev'n-fold fence to fail,
Though stiff with hoops, and arm'd with ribs of whale.
Form a strong line about the silver bound,
And guard the wide circumference around.”
Pope further reinforces the mock-heroic effect through his grand style. He uses nemerous poetic devices like periphrases, alliteration, and polished diction to achieve the desired mock-heroic effect. Moreover, he makes the style grander through the use of high sounding words, signs of exclamation and interrogation. He also uses lengthy speeches like the serious epic.

“The Rape of the Lock” as a Mock-heroic Poem


December 18, 2017

Quotations by Gerard Manley Hopkins


“O the mind, mind has mountains; cliffs of fall Frightful, sheer, no-man-fathomed.” ~ Gerard Manley Hopkins, No worst, there is none. Pitched past pitch of grief

“The best ideal is the true
And other truth is none.
All glory be ascribed to
The holy Three in One.”
~ Gerard Manley Hopkins, Summa

“All the world is full of inscape and chance left free to act falls into an order as well as purpose.”
~ Gerard Manley Hopkins, Journal (24 February 1873)

“A great work by an Englishman is like a great battle won by England. It is an unfading bay tree.”
~ Gerard Manley Hopkins, Letter to Robert Bridges (13 October 1886)

“Gather gladness from the skies;
Take a lesson from the ground;
Flowers do ope their heavenward eyes
And a Spring-time joy have found;
Earth throws Winter's robes away,
Decks herself for Easter Day.”
~ Gerard Manley Hopkins, Easter

“Let Him easter in us, be a dayspring to the dimness of us, be a crimson-cresseted east.”
~ Gerard Manley Hopkins, The Wreck of the Deutschland

“O the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed.”
~ Gerard Manley Hopkins, No worst, there is none. Pitched past pitch of grief

“Hope had grown grey hairs,
Hope had mourning on,
Trenched with tears, carved with cares,
Hope was twelve hours gone.”
~ Gerard Manley Hopkins,The Wreck of the Deutschland

“ELECTED Silence, sing to me
And beat upon my whorlèd ear,
Pipe me to pastures still and be
The music that I care to hear.”
~ Gerard Manley Hopkins, The Habit of Perfection

“And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs —
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.”
~ Gerard Manley Hopkins, God's Grandeur

“Nothing is so beautiful as Spring-
When weeds, in wheels, shoot long and lovely and lush;
~ Gerard Manley Hopkins, Spring

“I have desired to go
Where springs not fail,
To fields where flies no sharp and sided hail
And a few lilies blow.
And I have asked to be
Where no storms come,
Where the green swell is in the havens dumb,
And out of the swing of the sea.”
~ Gerard Manley Hopkins, Heaven-Haven

“What would the world be, once bereft
Of wet and of wildness? Let them be left,
O let them be left, wildness and wet;
Long live the weeds and the wilderness yet.”
~ Gerard Manley Hopkins, Inversnaid


December 4, 2017

Rudyard Kipling Quick Facts

Rudyard Kipling was an English poet, novelist and story writer of the late Victorian period.

Rudyard Kipling Quick Facts


  • Birth Name: Joseph Rudyard Kipling
  • Date of Birth: December 30, 1865
  • Place of Birth: Bombay, Bombay Presidency, British India
  • Zodiac Sign: Capricorn
  • Death: January 18, 1936
  • Place of Death: Middlesex Hospital, London, England
  • Cause of Death: Duodenal ulcer
  • Ethnicity: White
  • Nationality: British
  • Place of Burial: Poets' Corner, Westminster Abbey, London
  • Gravestone Inscription:
“ KIPLING. BORN 30th DEC. 1865
 DIED 18th JAN. 1936.”
  • Father: John Lockwood Kipling
  • Mother: Alice Kipling (née MacDonald)
  • Siblings:
  1. Sister-Alice Kipling (1868–1948)
  2. Brother-John Kipling (1870–1870)
  • Sexual Orientation: Straight
  • Spouse: Caroline Starr Balestier (m. 1892) (1862–1939)
  • Children:
  1. Daughter-Elsie Kipling (1896–1976)
  2. Daughter-Josephine Kipling (1892–1899)
  3. Son-John Kipling (1897–1915)
  • Alma Mater: United Services College
  • Known for: his brilliant storytelling capability, reflected especially in his tale of children
  • Rudyard Kipling was criticized for: his celebration of British imperialism
  • Rudyard Kipling was influenced by: Robert Louis Stevenson (1850 –1894), H. Rider Haggard (1856 –1925), Joel Chandler Harris (1848 –1908), and Ibn Tufail (c. 1105 – 1185).
  • Kipling’s Works Inspired:  NA

Notable Awards

  • Nobel Prize in literature (1907)
  • Gold Medal of the Royal Society of Literature (1926)


“I never made a mistake in my life; at least, never one that I couldn't explain away afterwards.”
Rudyard Kipling, Under The Deodars

Did You Know?

  • Rudyard Kipling was the eldest child to John Lockwood Kipling and Alice Kipling.
  • His father was an art teacher, illustrator and museum curator.
  • Kipling was the first to use Cockney dialect in serious poetry.
  • Kipling was named after the Rudyard Lake in Rudyard, Staffordshire, England.
  • Rudyard Kipling was awarded the Nobel Prize in Literature in 1907.
  • Kipling was the first English to receive the prestigious Nobel Prize.
  • Kipling is the youngest recipient of the Nobel Prize in Literature to date.
  • His Nobel Prize citation reads: “in consideration of the power of observation, originality of imagination, virility of ideas and remarkable talent for narration which characterize the creations of this world-famous author”.
  • Kipling’s first collection of poetry Departmental Ditties was published in 1886.
  • His first collection of prose Plain Tales from the Hills was published in 1888 in Calcutta.
  • The ashes of Kipling were buried in Poets' Corner next to the graves of Charles Dickens and Thomas Hardy.
  • In 1892, Rudyard Kipling married Caroline Starr Balestier.
  • Kipling's daughter Josephine died from influenza at the age of six.
  • His son, John was killed at the Battle of Loos while serving with the British Army during the First World War.


November 9, 2017

Quotations by George Gordon Byron

George Gordon Byron, (1788 –1824), was a major English poet and one of the influential representatives of the Romantic Movement.

“Death, so call’d, is a thing which makes men weep, And yet a third of life is pass’d in sleep.” ~ George Gordon Byron, Don Juan, Canto XIV

“She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes...”
~ George Gordon Byron, She Walks in Beauty

“Oh, God! it is a fearful thing
To see the human soul take wing
In any shape, in any mood.”
~ George Gordon Byron, The Prisoner of Chillon

“But words are things, and a small drop of ink,
Falling, like dew, upon a thought produces
That which makes thousands, perhaps millions think.”
~ George Gordon Byron, Don Juan, Canto III

“ When age chills the blood, when our pleasures are past—
For years fleet away with the wings of the dove—
The dearest remembrance will still be the last,
Our sweetest memorial the first kiss of love.”
~ George Gordon Byron, The First Kiss of Love,

“In secret we met
 In silence I grieve,
That thy heart could forget,
 Thy spirit deceive.
 If I should meet thee
 After long years,
 How should I greet thee?
 With silence and tears.”
~ George Gordon Byron,  When We Two Parted (1808)

“And thou wert lovely to the last,
Extinguish'd, not decay'd;
As stars that shoot along the sky
Shine brightest as they fall from high.”
~ George Gordon Byron, And Thou Art Dead as Young and Fair (1812).

“I am the very slave of circumstance
And impulse — borne away with every breath!
Misplaced upon the throne — misplaced in life.
I know not what I could have been, but feel
I am not what I should be — let it end.”
~ George Gordon Byron, Sardanapalus

“Sorrow is knowledge: they who know the most
Must mourn the deepest o’er the fatal truth,
The Tree of Knowledge is not that of Life.”
~ George Gordon Byron, Manfred

“Though the day of my Destiny's over,
And the star of my Fate hath declined,
Thy soft heart refused to discover
The faults which so many could find.”
~ George Gordon Byron,   Stanzas to Augusta

“The world is a bundle of hay,
Mankind are the asses that pull,
Each tugs in a different way—
And the greatest of all is John Bull!”
~ George Gordon Byron,   Letter to Thomas Moore (22 June 1821).

“My days are in the yellow leaf;
The flowers and fruits of Love are gone;
The worm — the canker, and the grief
Are mine alone!”
~ George Gordon Byron,   On This Day I Complete My Thirty-Sixth Year

“Tis strange,-but true; for truth is always strange;
Stranger than fiction: if it could be told,
How much would novels gain by the exchange!
How differently the world would men behold!”
~ George Gordon Byron, Don Juan

“He who hath bent him o'er the dead
Ere the first day of death is fled,—
The first dark day of nothingness,
The last of danger and distress,
Before decay's effacing fingers
Have swept the lines where beauty lingers.”
~ George Gordon Byron,The Giaour

“Then stirs the feeling infinite, so felt
In solitude, where we are least alone.”
~ George Gordon Byron, Childe Harold's Pilgrimage

“I live not in myself, but I become
Portion of that around me: and to me
High mountains are a feeling, but the hum
of human cities torture.”
~ George Gordon Byron, Childe Harold's Pilgrimage

“The thorns which I have reap’d are of the tree
I planted,—they have torn me,—and I bleed:
I should have known what fruit would spring from such a seed.”
~ George Gordon Byron, I. Personal, Lyric, and Elegiac England

“Be thou the rainbow to the storms of life.
The evening beam that smiles the clouds away,
And tints tomorrow with prophetic ray!”
~ George Gordon Byron, The Bride of Abydos, Canto II, stanza 20

“Death, so call’d, is a thing which makes men weep,
And yet a third of life is pass’d in sleep.”
~ George Gordon Byron, Don Juan, Canto XIV


November 1, 2017

“The Love Song of J. Alfred Prufrock” as a Modern Poem

Modernism is a movement in literature that lasted from roughly the end of the 19th century to the middle of the 20th century. The era marked landmark progress in science and technology, industrialization and globalization. Although these are all indicatives of modernism, the modernist writers, however, diverted their interest into otherwise.Their prime objective was to highlight the potential incongruities underneath the surface advancement.They observed that with the increased reliance on science and technology, and the gradual removal of the individual from rural community into urban isolation, the individual and society were at odds with one another. Moreover, they also witnessed that the devastation caused by the World War I left the civilization declined rather than improved.

T.S. Eliot is one of the pioneering literary figures of the modernist movement. In his works he opted to infuse the trending issues of his time. Eliot’s earliest tour de force, The Love Song of J. Alfred Prufrock, indicated a groundbreaking literary shift from late 19th-century Romantic poetry to Modernism. The Love Song of J. Alfred Prufrock encapsulates nearly all of the major tenets of the subject movement:

Free Verse

The modernists significantly deviated from the strict meter formulated by the Romantic school of poetry.They preferred free verse which follows neither a rhyme scheme nor a consistent meter. To be relevant to the era The Love Song of J. Alfred Prufrock is also composed in free verse. However, the poem does not fully follow the free verse; rather it adheres to some formal rhymes as well.

Stream of Consciousness

Stream of consciousness is a popular mode of narration in the modern era. The modernist writers often used this technique to perplex the audience, by leaving things vague or unexplained.That is why works narrated by this technique are often difficult to follow. The Love Song of J. Alfred Prufrock also employs the stream of consciousness technique to present the inner thoughts or anguish of a neurotic, isolated, hesitant, and cynical man named Prufrock. The aforesaid subject clearly releases his indecisive thoughts in the following lines:
“And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.”


Alienation is one of the central themes in the modern era. Eliot’s The Love Song of J. Alfred Prufrock also hinges around this theme. The poet explores alienation through the title character Prufrock, who is paralyzed by indecision and worry about his appearance to others, particularly to women. His inability to properly express his love and fears of rejection supersede his natural desire to be with a woman, which in turn created an awkward and isolated character that is aloof from society. Prufrock believes that  his paralysis has stemmed from the silent criticism of those around him, and thus he thinks that he will be free of his paralyzing fear once he isolates himself from others. This idea is further reinforced by his wandering at dusk through the narrow back alleys of the seedier side of the city where the only beings are the common class people. Since here he is isolated from the people he knows, he finds the most comfort in the company of complete strangers:
“Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? ...”

Urban Setting

The modernists significantly deviated from the Romantics in the matter of choosing the setting. Whereas the former used a rural setting to explore nature from emotional or imaginary point of view, the latter employed an urban setting to portray the city life realistically with its hustle and bustle.Eliot also followed his contemporaries and confined his TheLove Song of J. Alfred Prufrock within an urban setting which is evident in the following lines:
“The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.”


The majority of the modernist works are replete with allusions, an expression which enabled the writers to encapsulate the entire theme, mood, feeling and plot of those other stories, with just one word or phrase. Eliot also used allusions extravagantly in his poem TheLove Song of J. Alfred Prufrock which heightened the symbolic as well as the ironic mode of expression. For example:
  • The very title of the poem reverberates to Rudyard Kipling’s Love Song of Har Dyal, although in a rather ironic way. While Kipling’s poem is a typical love song expressing an Englishman's passion and love for his Indian lover, Eliot’s poem is a mockery of the love song, portraying the protagonist’s many failed attempts at courting women.
  • Eliot starts the poem with an epigraph drawn from the 27th canto of Dante’s Inferno to suggest the theme of secrecy. The epigraph refers to a meeting in which Guido da Montefeltro speaks with a sense of secrecy to Dante, just as Prufrock speaks with a sense of secrecy to the “you” mentioned in the poem’s very first lines:
“Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;”
  • In lines 94-95, Eliot alludes to Lazarus, a biblical character, who was sent to Hell but he wanted to come back to the earth in order to tell his friend about experiences in Hell. In the same way Prufrock is living in such a place where he seems to be dead:
“I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
  • Eliot repetitively refers to Michelangelo to portray the boring nature of a social event where no one really cares what is being said, pointlessly mingling among themselves while they try to figure out interesting bits of conversation to mention:
“In the room the women come and go
Talking of Michelangelo.”
  • In lines 111-119, Prufrock considers himself to be Prince Hamlet, the title character from Shakespeare’s Hamlet. However, soon he declares that he does not have the potentialities of Hamlet and that he is more of a side character like Polonius who could be confused for a fool who appears in a scene or two:
“No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.”

The Love Song of J. Alfred Prufrock


October 30, 2017

Quotations by Emily Brontë


“Treachery and violence are spears pointed at both ends; they wound those who resort to them worse than their enemies.” ~ Emily Brontë, Wuthering Heights

“Proud people breed sad sorrows for themselves.  But, if you be ashamed of your touchiness, you must ask pardon, mind, when she comes in.”
~ Emily Brontë, Wuthering Heights

“A person who has not done one-half his day’s work by ten o’clock, runs a chance of leaving the other half undone.”
~ Emily Brontë, Wuthering Heights

“Love is like the wild rose-briar,
Friendship like the holly-tree—
The holly is dark when the rose-briar blooms
But which will bloom most constantly?”
~ Emily Brontë, Love and Friendship

“I pray every night that I may live after him; because I would rather be miserable than that he should be: that proves I love him better than myself.”
~ Emily Brontë, Wuthering Heights

“Because misery and degradation, and death, and nothing that God or Satan could inflict would have parted us, you, of your own will, did it.  I have not broken your heart—you have broken it; and in breaking it, you have broken mine.  So much the worse for me that I am strong.”
~ Emily Brontë, Wuthering Heights

“I’m now quite cured of seeking pleasure in society, be it country or town.  A sensible man ought to find sufficient company in himself.”
~ Emily Brontë, Wuthering Heights

“I gave him my heart, and he took and pinched it to death; and flung it back to me. People feel with their hearts, Ellen, and since he has destroyed mine, I have not power to feel for him ...”
~ Emily Brontë, Wuthering Heights

“I’m wearying to escape into that glorious world, and to be always there: not seeing it dimly through tears, and yearning for it through the walls of an aching heart: but really with it, and in it.”
~ Emily Brontë, Wuthering Heights

“… you have left me so long to struggle against death alone, that I feel and see only death!  I feel like death!”
~ Emily Brontë, Wuthering Heights

“If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger ...”
~ Emily Brontë, Wuthering Heights

 “I wish I were a girl again, half savage and hardy, and free; and laughing at injuries, not maddening under them!  Why am I so changed? … I’m sure I should be myself were I once among the heather on those hills. ”
~ Emily Brontë, Wuthering Heights

“If he loved with all the powers of his puny being, he couldn't love as much in eighty years as I could in a day.”
~ Emily Brontë, Wuthering Heights

“I have to remind myself to breathe—almost to remind my heart to beat!”
~ Emily Brontë, Wuthering Heights

 “My love for Linton is like the foliage in the woods: time will change it, I’m well aware, as winter changes the trees.  My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary.  Nelly, I am Heathcliff!  He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.”
~ Emily Brontë, Wuthering Heights

 “It was not the thorn bending to the honeysuckles, but the honeysuckles embracing the thorn.”
~ Emily Brontë, Wuthering Heights

 “It is hard to forgive, and to look at those eyes, and feel those wasted hands,' he answered. 'Kiss me again; and don’t let me see your eyes! I forgive what you have done to me. I love my murderer—but yours! How can I?”
~ Emily Brontë, Wuthering Heights

 “Honest people don't hide their deeds.”
~ Emily Brontë, Wuthering Heights

 “I love the ground under his feet, and the air over his head, and everything he touches, and every word he says.  I love all his looks, and all his actions, and him entirely and altogether.”
~ Emily Brontë, Wuthering Heights

 “… heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out into the middle of the heath on the top of Wuthering Heights; where I woke sobbing for joy.”
~ Emily Brontë, Wuthering Heights

 “… he shall never know how I love him: and that, not because he’s handsome, … but because he’s more myself than I am.  Whatever our souls are made of, his and mine are the same ...”
~ Emily Brontë, Wuthering Heights

“I’ve dreamt in my life dreams that have stayed with me ever after, and changed my ideas: they’ve gone through and through me, like wine through water, and altered the colour of my mind.  And this is one: I’m going to tell it—but take care not to smile at any part of it.”
~ Emily Brontë, Wuthering Heights

 “… he's more myself than I am. Whatever our souls are made of, his and mine are the same ...”
~ Emily Brontë, Wuthering Heights

“Be with me always—take any form—drive me mad! only do not leave me in this abyss, where I cannot find you!  Oh, God! it is unutterable!  I cannot live without my life!  I cannot live without my soul!”
~ Emily Brontë, Wuthering Heights

“Your cold blood cannot be worked into a fever: your veins are full of ice-water; but mine are boiling, and the sight of such chillness makes them dance.”
~ Emily Brontë, Wuthering Heights

“A good heart will help you to a bonny face, my lad, … and a bad one will turn the bonniest into something worse than ugly.”
~ Emily Brontë, Wuthering Heights

“The night is darkening round me,
The wild winds coldly blow;
But a tyrant spell has bound me,
And I cannot, cannot go.”
~ Emily Brontë, The night is darkening round me

“… treachery and violence are spears pointed at both ends; they wound those who resort to them worse than their enemies.”
~ Emily Brontë, Wuthering Heights


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