When two or more witnesses give their account of an event, the story never comes out the same. The differences, as Browning fully realized in The Ring and the Book(1868-69), provide for powerful ironic tensions. Over and over again, in Browning's poem, the story is told of what happened on the fatal night when Count Guido Franceschini went in seach of his seventeen-year-old bride Pompilia who, in the company of the handsome young priest Giuseppe Caponsacchi, had runaway from his ancient villa and returned home to her parents in Rome. And in every telling there is another version of the motives and the consequences. Although Browning allows the Pope to serve as arbiter, he also effectively undermines confidence in testimony. Even Guido's final confession heaves the reader with uneasy qualms about the claims of truth and justice.
What is expected of a reader who observes that one truth-claim modifies or compromises another? Is the task to respond to an account delivered with full expectation that it will be disbelieved? As Clayton Koelb has shown in The Incredulous Reader, dialogical opposition can fold untruth within truth, disbelief within belief, in a virtually endless regress. When Pirandello, in It is so! (If you think so )(1917), takes up the problem of competing claims to truth, he gradually pushes the claims into such extreme contradiction that if one version is true the proponent of the other is not simply mistaken, or lying, but mentally unbalanced. The claims of Signora Flora and Signor Ponza baffle the efforts of the gossips in a small Italian town, and with them Pirandello's theatre audience, to determine whether Ponza is deranged and cruelly conceals his wife( according to the tale his mother-in-law tells), or Signora Flora suffers from the delusion that her daughter is still alive, refusing to believe that Ponza has remarried (as Ponza tells the story). Signora Ponza fully understands the bond of affection and mutual dependence that has grown up between Signora Flora and Ponza as each attempts to humor the supposed delusion of the other.
Earnshaw, the owner of Wuthering Heights. ... The people of Wuthering Heights aspired to be on the same level as the Lintons. ... Bronte chooses well, the language that she uses in Wuthering Heights. ... Although Wuthering Heights, the land of the storm, sits high on the barren moorland, "The world of Wuthering Heights is a world of sadism, violence, an! ... Heathcliff is the very spirit of Wuthering Heights. ...
Wuthering Heights In Wuthering Heights by Emily Bronte, there are two main estates of Thrushcross Grange and Wuthering Heights. ... Wuthering Heights was built to be very strong to endure harsh storms. ... Wuthering Heights is nowhere as beautiful as the Grange. ... Everything relating to Wuthering Heights is almost always negative. ... Wuthering Heights, on the other hand, had no such boundary. ...
Wuthering Heights gives the story of events occurring on the estates of Thrushcross Grange and Wuthering Heights. ... In contrast to Wuthering Heights, Thrushcross Grange is like heaven. ... This helps to further show the tone of the novel and of Wuthering Heights. ... The readers gains a sense of the pleasant feeling of Wuthering Heights. ... Wuthering Heights provides a wonderful example of the many uses of tone. ...
Wuthering Heights Emily Bronte's Wuthering Heights, portrays the different human relationships that the characters have within the novel. ... Lockwood visits Heathcliff in Wuthering Heights. The strange behaviors of the people at Wuthering Heights make him curious about them. ... At the beginning of the novel, Wuthering Heights is described duringstormy? ... Wuthering Heights would be the demonic world and Thrushcross Grange the peaceful world. ...
Wuthering Heights is the residence of the Earnshaws. ... Earnshaw brings Heathcliff to Wuthering Heights. ... Wuthering Heights is full of malice and hatred that Heathcliff turns revengeful and hateful of all at Wuthering Heights. ... Living in Wuthering Heights, she is neglected, not appreciated, and treated badly. ... Living in the gloom of Wuthering Heights worsens his sickness. ...
The setting used throughout the novel Wuthering Heights helps to set the mood to describe the characters. ... Wuthering Heights and Thrushcross Grange both represent several opposing properties. ... The people of Wuthering Heights aspired to be on the same level as the Lintons. ... Opposite of Wuthering Heights, Thrushcross Grange is filled with light and warmth. ... While Wuthering Heights was always full of activity, sometimes to the point of chaos. ...
Thrushcross Grange was in the valley, sheltered from the violent winds and storms that Wuthering Heights tolerated. ... Wuthering Heights is set in the late eighteenth century - early nineteenth century. ... Symbolism is a strong theme in Wuthering Heights. ... Emily Bronte's use of imagery throughout "Wuthering Heights contains the use of barriers. Lockwood is superstitious and his presence at "Wuthering Heights" collides with that of Heathcliff's. ...
Wuthering Heights: The Movie or the Book? Wuthering Heights is one of the most widely read classic novels of all time. ... Wuthering Heights is a work rich with human emotions such as love, romance, passion, revenge, and violence. ... Wuthering Heights is very nearly unfilmable - as three major film versions over the last 60 years have admirably proved. ... In essence, the 1998 version of Wuthering Heights successfully fulfills the demands of film element and audience expectation. ...
Wuthering Heights was the estate that belonged to Mr. and Mrs. ... Over Wuthering Heights hovers "a horror of great darkness;" where during these outraged storms the air seemed to at times breathe lightening (Chelsea 4184). ... It was always clear that for him Wuthering Heights would never become a comforting haven as he dreamed it would (Maskill 1665-66). ... As she grew older and her love for Heathcliff matured, Wuthering Heights became more of a burden and a place to escape than a place of refuge. ... Wuthering Heights and Thrushcross Grove were in contrast to one another in evil and ...
