Sexual perversion in Wuthering Heights, Othello, and a View from the Bridge.

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How do “Othello”, “A View From the Bridge” and “Wuthering Heights” explore the theme of sexual perversion in relation to the “darker side” of love?

In reference to Wuthering Heights J. Hellis Miller once stated "This secret truth would be something formulable as a univocal principle of plantation which would account for everything in the novel.”. I aim to show that each of the titled texts do indeed have a governing principle which accounts for the eventual tragedy and demise of each set of lovers.

      Shakespeare’s Othello, Miller‘s A View From the Bridge and Bronte’s Wuthering Heights all seem to challenge contextual boundaries. In all three, there appears to be an underlying “principle” - whether it be religious, cultural or evolutionary - which acts as a barrier for “love”. Othello seems to be a stark commentary upon social opposition to miscegenation which is reinforced through constant references to theological superstition, whereas the conflict (internal and external) in AVFAB appears to be due to the protagonists’ repressed homosexuality emphasised through the many scenes which may be interpreted as allegorical sex scenes illustrating his subconscious (and, in the context, incongruent) desires. Finally, in Wuthering Heights there is the possibility of consanguinity between Catherine and Heathcliff which doesn't seem to be "reductive" in any way; it seems well-enough able to stand as the "principle", acting as explanation for the affinity between the two. In all, certain religious or evolutionary rules forebode each relationship and show the consequences of each transgression.

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      According to Freud those who are sexually jealous are repressing homosexual desire. It is for this reason the psychoanalytical interpretation that a strong homosexual attraction to Othello may motivate Iago to persecute him may hold true. For example, the language Iago uses throughout the play is heavily laden with animal and plant imagery which may be a manifestation of Iago’s subconscious desires. For instance, Iago uses the metaphor “our bodies are our gardens, to the which our wills are gardeners” which symbolises, on one hand, how Iago’s conceit is comparable to a poisonous plant. Or, on ...

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