Wuthering Heights and Tess of The D’Urberville: Toxicity Theme

The novels ‘Wuthering Heights’ by Emily Bronte and ‘Tess of the d’Urberville’ by Thomas Hardy use the technique of foil and the genre of gothic elements to construct the psychological manipulation and social manipulation that causes toxicity within relationships. A ‘toxic relationship’ is characterised by the behavior of one partner that is damaging and unfavorable to the other person in a relationship. Toxicity, unlike the popular perception that it is caused only by a belligerent partner, is due to the incompatibility of the persons involved in the relationship. “In some cases, there is no one necessarily to blame for the toxicity; rather, the toxicity is caused by the inability to commune and establish healthy boundaries, conversations, and communication”. The acknowledgement of toxicity in a relationship is important. Being able to recognise this sometimes is not easy, as we, tend to overlook toxic behavior from those we love. My research revealed that, toxicity is not a new pattern and has existed before; there is only more awareness about it now than back in the Victorian Era, where women could not escape the toxicity due to social judgments. Nowadays, it is easier to escape and is more acceptable in many cultures to getaway from the toxic behaviors that a partner is engaging in.

In both novels, there is an evidence of toxicity as a result of psychological manipulation, as there tends to be social manipulation through social standards and judgments influencing the protagonists. There is also psychological manipulation by the author towards the reader to make them more engaged and recognise the sentiments of the character. The exposure of the toxic behaviors in this essay through the use technique of foil and the genre of gothic elements will allow us to understand the toxic patterns performed by the protagonists and learn from them.

This essay will focus on ‘Wuthering Heights’, where firstly, the comparison between Edgar and Heathcliff will be made through the aid of foil and gothic elements. Furthermore, to support the idea of Catherine’s conflict, we will explore the theory of Sigmund Freud’s on the id, superego and ego. This novel is compared with Tomas Hardy’s ‘Tess of the d’Urberville’. In this part of the essay, social marriage and natural marriages will be discussed. Similarly, to the previous novel, Tess is also conflicted between two men. This conflict will be discussed before the genre of gothic elements. In both essays, psychological manipulation is a prominent theme, however, psychological manipulation can be done on its own, unlike social manipulation, which helps psychological manipulation. This is purely due to the fear of been unfit to the social norms and the social pressure enforcing psychological manipulationIn ‘Wuthering Heights’, Emily Bronte uses the literary devices of foil and duality of personality and gothic elements to explore psychological and social manipulation. The major foil she uses is the one between Heathcliff and Edgar to show the duality of personality in Catherine as she sees the two men being a part of her. We discover throughout the novel that they are the complete opposite of each other in every sense.

To begin with, their physical appearances are distinct from each other. Edgar has “light hair and a fair skin”, and is “dressed, and behaved as well…” and is depicted as rather effeminate and delicate, making the reader sympathise with him as a character with what are generally perceived as positive traits. This is contrasted with Heathcliff, who is described as having “brows lowering, the eyes deep set and singular…” causing him to be perceived as a gothic hero, mysterious and Byronic due to his features. Not only do they differ in their appearance, but they also differ in terms of their social standing; Emily Bronte uses the technique of foil to differentiate Edgar and Heathcliff’s love for Catherine. She married Edgar for his social standing, not for love. Catherine took advantage of the fact that Edgar wanted to marry her and that the Lintons liked her due to the time they spent together to manipulate him. “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. ” We can see here that Catherine has no interest in Edgar and only marries him for her own motives, which will be discussed later. By concealing the truth and pretending, Catherine is manipulating him into believing a lie. Bronte uses gothic elements to explore the depth of human emotions leading to social and psychological manipulation. Firstly, pathetic fallacy is used to create the foil between Wuthering Heights and Thrushcross Grange. Wuthering heights is “grotesque, with strong, narrow windows… deeply set in the wall, and the corners defended with large, jutting stones”, and where “there was no moon, and everything beneath lay in misty darkness: not a light gleamed from any house, far or near all had been extinguished long ago: and those at Wuthering Heights were never visible…” Comparatively, Thrushcross represents order and stability: “the light came from drawing room window. . . Both us us were able to look in. . . a splendid place carpeted with crimson, and crimson-covered chairs and tables, and a pure white ceiling bordered with gold…” We can see through the contrasting description that Thrushcross Grange is positive and enlightened unlike Wuthering heights. This has an effect on the behaviour of the protagonists living in one of the two places. Bronte emphasizes on the association made between the characters and the place where they live. This is particularly demonstrated through Heathcliff, due to his dark features matching the “misty darkness”.

Moreover, “Wuthering” means noisy, turbulent winds that blow across the moors. Conversely, Thrushcross Grange is warm and sophisticated “unlike Wuthering Heights, it is elegant and comfortable… a splendid place carpeted with crimson, and crimson covered chairs and tables, and a pure white ceiling bordered by gold. ” Thrushcross is paired with Edgar just as much as Wuthering Heights is with Heathcliff. When Catherine stays there, she transforms into the epitome of sophistication and elegance. Catherine inhabits both spaces and their respective characteristics. The weather around the characters manipulates the readers into feeling more intensely the feelings of the protagonist. This is best illustrated when Heathcliff hears Catherine’s plans to marry Edgar. “It was a very dark evening for summer: the clouds appeared inclined to thunder”. Generally, a thunderstorm is associated with a profound emotion. This reveals Heathcliff’s “violent” anger and foreshadows the act of revenge he will seek upon returning to Wuthering Heights. A theory that supports Bronte’s use of foil and duality is the one from Sigmund Freud. Freud’s theory regarding the human personality (psyche) is widely influential. His theory was that the psyche is structured in three parts: the id, the ego and the superego, being systems rather than parts of our brain, all developing at different stages in our lives. To begin with, the character of Heathcliff seemingly represents the id. In this case, the id operates on his desires to be able to seek pleasure. Heathcliff seeks revenge against Hindley as he states, when speaking to Catherine, “I meditated this plan – just to have one glimpse of your face, a stare of surprise, perhaps, and pretended pleasure; afterwards settle my score with Hindley. ” His motivation for this revenge is driven by two aims, which are love, and to become wealthier, so that he can psychologically manipulate Hindley through the ownership of Hindley’s possessions and power. Furthermore, he does this so that Catherine does not have to intervene on his behalf and get hurt by her brother.

Additionally, from his frequent visits, Heathcliff manipulates Catherine to resist her from forgetting him and to try and maintain control over her and Edgar. This Heathcliff achieves by sporadically reappearing in Catherine’s life, so that she is forced to not forget her “soul mate”. Another way Heathcliff controls Catherine is through psychological manipulation of Isabella, whom he marries by pure revenge towards Edgar. He uses the family ties he acquired by marrying her to manipulate for material gain, control and the ability to dedicate to another’s existence. Before Catherine’s death, Heathcliff still tried to attempt to retain control over her. He is “so inadequate in gentleness to the requirements of Catherine’s condition, that on letting go, Nelly saw four distinct impressions left blue in the colorless skin”. He is refusing to let go the physical control he has over her even in death, because in doing so he loses control over his destiny with her. Catherine is fully aware of the control Heathcliff holds over her. This is shown when she tells Nelly just before she dies, “The thing that irks me most is this shattered prison, after all”. Due to societal pressure, hence manipulation, she is unable to find relief in true love and is forced to marry Edgar, yet she is still controlled by her love for Heathcliff through psychological manipulation. In contrast, Bronte uses Heathcliff’s foil, Edgar to represent calm in Heathcliff’s chaos but also the reason to Heathcliff's emotional extremes. Edgar is defined as the super ego as he is civilized and cultured, bringing out the better side of Catherine by accommodating her in his house and educating her. He is also very kind and tolerant; however, this might also be due to his fear about losing Catherine. He represents regulations and morality, conforming to the societal norms of the proper “gentleman”. Edgar is not manipulative. This is perhaps due to the fact that he does not feel the need to manipulate his way through what he wants. However, Bronte uses Edgar for the simple reason of comparing him with Heathcliff as they are opposites- foil. Catherine, perhaps representing the ego, or the ‘I’, as she “operates according to the reality principle, working out realistic ways of satisfying the id’s Heathcliff’s demands, often compromising or postponing satisfaction to avoid negative consequences of society”.

The ego, or in this case Catherine, is submerged through social manipulation and pressure, remaining in control and loyal to Edgar in their marriage even when Heathcliff returns. This shows that no matter how much she loves Heathcliff, she follows the societal expectation of a supressed choice to remain loyal to her husband so as to not be judged by society. This reveals to the readers her materialistic nature, but also the dual nature of the upper class, as the author targets the romanticized idea of the upper class. This is done by contrasting the actions the upper class are expected to have with the harsh images and actions of the working class: “exchanging a bleak, hilly, coal country for a beautiful valley”. Bronte reveals the societal norms by showing how they manipulate a woman in her marriage choices, as these ideas were embedded in her since childhood.

Catherine is portrayed as a very manipulative character throughout the novel, particularly with Edgar and Heathcliff. With her husband, she showed him her temper before marriage when she tells him that he must not go or she will "cry herself sick". This demonstrates psychological manipulation through a threat, which will lead a caring person to act the way the threatener wants them to. Furthermore, we can see that she is aware of the love both men have for her, and manipulates them to get what she wants by trying, “to break their hearts by breaking my own. That will be a prompt way of finishing all, when I am pushed to extremity!” But this will only be done if Catherine “cannot keep Heathcliff for my friend — if Edgar will be mean and jealous”. This shows that she maintains control over both of them no matter what through psychological manipulation. Consequently, Catherine’s actions take in account Heathcliff, the id’s presence, for the purpose of this essay. This is prominently shown when Catherine informs Nelly, “I see now, you think me a selfish wretch; but did it never strike you that if Heathcliff and I married we should be beggars? Whereas, if I marry Linton, I can aid Heathcliff to rise, and place him out of my brother's power?” This demonstrates that Catherine only marries Edgar for status and wealth and not for love, manipulating him and using his love for her to her advantage. However, Catherine has as much control over Heathcliff, as he has on her. For instance, the idea of being with Catherine was Heathcliff’s drive to change himself physically, though this change was only physical and not deeper – he never addressed the faults with his personality. Edgar “… had sense to comprehend Heathcliff's disposition: to know that, though his exterior was altered, his mind was unchangeable and unchanged. ” The writer fuses extreme emotions, obsession and the conflict Catherine has between the two men, constructing the idea of Catherine and Heathcliff being each other’s double by forming an identity they can not live without. The idea that their love exceeds death strengthens this idea of duality. It is precisely shown when she tells Nelly yet again, “I cannot live without my soul” and “Would you like to live with your soul in the ground. ” Furthermore, Bronte uses emphasises the duality of Catherine’s character, creating psychological manipulation. Catherine made Heathcliff dependent on her. They did not break any patterns and their affection kept growing as long as they saw each other. Instead of controlling themselves to see each other, they kept manipulating one another through their dependency. Catherine’s manipulation follows Heathcliff after her death through the supernatural forces Bronte insinuates: “Her presence was with me; it remained while I re-fill the grave, and let me home. ” His connection with Catherine was so strong that he felt her presence even after her death. This manipulation is further shown through the dependency they both held over one another. The fact that Catherine still haunts Heathcliff, even after her death, shows how much his conscious was ruled by her and his actions over the past few years were for her. This reinforces the concept of toxicity and manipulation, as the dependency was unhealthy to the point that even death did not end it.

Similarly, having ascertained the prevalence of psychological manipulation in ‘Wuthering Heights’, this essay will now focus on how same form of domination is also portrayed in a similar manner in Hardy’s ‘Tess of d’Urberville’, the use of foil and the genre of gothic elements. Tess, just like Catherine is conflicted by two men in her life, Angel Clare and Alec d’Urberville. However, psychological manipulation is done through social manipulation in this novel. Hardy focuses on the difference between social and natural marriage and its integral part of Tess’ conflict in order to explore social manipulation. At many points of the novel, Tess is a victim of inequality in relationships due to her submissive nature and also social manipulation. This can be seen “when she found herself alone in her room for a few minutes - the last day this on which she was ever to enter it - she knelt down and prayed. She tried to pray to God, but it was her husband who really had her supplication. Her idolatry of this man was such that herself almost feared it to be ill-omened. “Consequently, the author critiques female servitude and the unevenness of social marriages in that era, showing a submissive Tess who views Angel as a literal angel, something worthy of worship, perhaps suggesting that women, back in the Victorian Era, were supposed to be submissive to their husband and worship them, allowing them to do as they pleased with no criticism. Moreover, “it was her husband who really had her supplication” further emphasises that he is the one manipulating her in worshiping him and seeing him as an angel. Similarly, this idea is reinforced when Hardy portrays Alec as an aggressor, claiming Tess as his own due to their sordid past. Alec also psychologically manipulates Tess through his diction and tone. “O no, no, Tess” … His voice hardened as his temper got the better of him, … and he stepped across to her side and held her by the shoulders, so that she shook under his grasp. ” Bronte demonstrates psychological manipulation in this case through his actions as he becomes more violent, making Tess scared of him. “Remember, my lady, I was your master once! I will be your master again. If you are any man’s wife you are mine!” By calling himself her master, Hardy suggests that Alec sees Tess as someone to be dominated and subdued. As Alec is the villain throughout the book, we can assume that Hardy’s views on this spousal slavery as morally wrong further at his hinting contempt for the institution of marriage. Furthermore, his words are threatening and for Tess, who has nothing else but him, creates fear, allowing him to psychologically manipulate her. The manipulation from society, just like in Wuthering Heights is prominent as, even though, Tess married Angel out of love, societal norms meant that men have power, manipulating the women’s position in their own relationships. The result of this dependency leads to toxicity.

Mrs. Duberfield also gets socially manipulated when she declares to Tess “ ‘get Alec D‘Urberville in the mind to marry her! He marry HER!’ ”; Mrs. Duberfield is obsessed over Alec’s social status, rather than his personality. Thus we see that social manipulation plays a significant role in social marriages, the ones where status matters more than happiness as “convulsive snatching at social salvation”. Marriage in this case is shown by Hardy to just be a tool to achieve improved social status. Social manipulation is further emphasised by a toxic means to keep a family alive through social marriage. No matter how abhorrent the married leaders of the family may be, or how dire their finances may become, their children must rely on them for everything as, “all these young souls were passengers in the Durbeyfield ship – entirely dependent on the judgement of the two Durbeyfield adults for their pleasures, their necessities, their health, even their existence. “Hardy portrays Angel as the hero in the novel. However, his actions contradict those characteristics. He is introduced as in an “uncribbed, uncabined aspect”. Hardy uses allusion to demonstrate to his readers Angel’s open mind and spirit, but he also foreshadows when he will be overwhelmed by fear and doubts. He further emphasises this whilst contrasting him around other characters such as his brother, to give the readers a view of his actions. This insight makes readers feel more acquainted with him. He is said to be drawn by a “bevy of girls” and to have a “fling” with the “country hoydens” describing him as a more rebellious and charismatic man. His physical attraction is what draws Tess to him, as well as his idealistic nature that Hardy manipulates, leading to Tess’s destruction.

Hardy portrays Angel Clare’s personality throughout the novel, from initially being a nameless character who seems to not care or respect traditional societal views and values, to a character with a major impact that retreats into a cruel conventional outlook. The narrative Hardy uses builds more depth to Angel’s starting character. Hardy gives an idealistic point of view from Tess with the contradiction from the narrator to portray a message that even the ‘hero’ has flaws and resembles the villain once the readers are exposed to them. This also creates a conflicting relationship between Alec and Angel, in which the readers do not know any more who is better. Alec d’Urberville is a nemesis for Tess and aids to her downfall, or perhaps even starts. To create a tragedy, Hardy uses a popular Victorian melodrama with the stereotype of the villain seeking pleasure by ruining an innocent. His actions make the tragedy move forward. Unlike Angel, he is portrayed as the ultimate villain since the beginning. This is merely because he rapes the main protagonist, yet we do not perceive him as a whole villain or cannot decide who is worse. Hardy managed to do so as Alec’s personality changes throughout the novel, which gives him more depth, as he is not stagnant. Furthermore, similarly to ‘Wuthering Heights’ the Gothic element serves to create an atmosphere through the landscape in which happiness is foreshadowed as unachievable. Gothic elements add realism to reinforce the mood, echoing a shift in sensibility as the surroundings describe the internal emotions of the protagonist. Psychological manipulation is shown through imagery to manipulate the reader into feeling sympathy for the characters. It also reveals toxic elements in the relationship by intensifying the emotions with its surroundings, as usually those feelings would not emerge if it were a healthy one.

Authors use this device to manipulate the reader into feeling the way they intend them to feel. In this case, as the atmosphere heightens the feelings of the protagonist, it absorbs the readers into feeling the toxicity more. Hardy uses nature to explain society and Tess’s life itself. Firstly, Hardy calls nature a villain character, regarding humans as puppets in hands of nature, allowing nature to manipulate us. This is explicitly shown through Tess, who is a victim of nature. The author uses situational irony to show that, “her soul that of a woman whom the turbulent experiences of the last year or two had quite failed to demoralize. But for the world’s opinion those experiences would have been simply a liberal education”. However, Hardy employs satire to describe this situational irony. By the use of irony, setting and satire, Thomas Hardy sets Tess’s arrest at Stonehenge, an ancient pagan sacrifice site, to allude to the opinion that Victorian society who prides itself on being modern treats its own women like savages, sacrificing them for their families. This shows social manipulation, as these are acceptable social norms followed by everyone. “It is in Stonehenge!” said Clare. “The heathen temple, you mean?” “Yes. Older than the centuries: older than the d’Urbervilles!”

She tried her best to avoid the sufferings and went for some positive work, but she became nature’s victim. Hardy does this to disclose the harsh aspects of life. Landscape imagery adds a degree of authenticity, realism and verisimilitude to reinforce the mood echoing a shift in sensibility. Hardy draws attention to the older tradition of gothic symbolism in making episodes more psychologically valuable. One of the ways Hardy illustrates social manipulation is through the picturesque and occasionally patronizing diction he uses. Some passages are excessively complex to create a sense of immediacy, being drawn into the scene so that the reader sees it as a narrator dies. Long words, complex or convoluted sentences with many subclasses are used to create heightened vision. Hardy used archaic language such as ‘verily’, classical references and foreign words and chose to attempt a literary style, because he could expect highly educated audiences for his work. Hardy excludes the lower social class through social and psychological manipulation, as he is aware that his diction is only comprehensible by those who are more educated.

In conclusion, both WH and Tess are prominently concerned with the notions of ‘toxic relationships’ and psychological manipulation, many years before these terms became commonly used. Both authors use similar techniques in which to convey to the audience their respective ideas on the nature of these aspects of relationships, including the continuous use of creating foils for their characters, in order to juxtapose the protagonists and reveal their complicity in both tragedies. The authors also utilise gothic settings in which to play out their novels, connecting the reader to their plots by use of pathetic fallacy and forcing the reader to almost take part in those troubled relationships depicted. Psychologically manipulation is shown often on its own, but social manipulation, which is more an offshoot of the former, is also prevalent and a factor in the characters’ respective plights.