Theme
Theme / Issue essay example
The three texts with which I will discuss the theme of ‘outcasts and their fight for acceptance’ are ‘Wuthering Heights’ [WH] by Emily Bronte, ‘The Curious Incident of the Dog in the Night-time’ [CN] by Mark Haddon, and ‘My Left Foot’ [MLF] by Jim Sheridan. All three texts demonstrate how outcasts can succeed in being accepted into their communities through strength of character and determination; Christy in MLF, Heathcliff and Hareton in WH, and Christopher in CN.
Communication, or a lack thereof, plays a key role in all three texts as the outcasts struggle to be understood. In MLF, Christy tries desperately to make himself understood through, at first, painting, and then later through written and spoken words. In WH, Heathcliff’s desire for revenge becomes an obsession as he bulldozes his way to power by destroying all who stand in his way. He fails to communicate and articulate the great pain and yearning he feels for his deceased Cathy, his only friend and true love as a boy. Christopher in CN too has problems with effective communication, as his inability to lie causes numerous social faux pas, such as informing the policeman of his deliberate assault and questioning his neighbours about Wellington’s death. All three outcasts struggle in their fight for acceptance in part as a result of their inability to communicate effectively.
Our initial impressions of both Christy (MLF) and Heathcliff (WH) are that they are both a little rough and somewhat hardened by experience. Christy is wheelchair-bound and tongue-tied through cerebral palsy and Heathcliff is a gypsy child found abandoned on the streets of London and brought home by the wealthy Mr Earnshaw. Heathcliff’s attitude as he grows older becomes aggressive through neglect towards outsiders, and Christy’s language is crude and his drinking heavy. Christopher (CN) in contrast seems more fearful than aggressive, although it appears likely that he is prepared to commit violent acts in self defence: ‘I have my Swiss Army Knife and if they [the other school children] hit me and if I kill them it will be self defence and I won’t go to prison.’
Christy’s “space” under the stairs could be interpreted as his family trying to keep him out of the way, and from here he observes life. The camera allows us to see the Browns’ kitchen at first from Christy’s perspective. Later, when Christy writes his first word (M.O.T.H.E.R.), he desperately struggles to move with huge effort from under the stairs into a central space, surrounded by his family. This is a highly symbolic gesture which reflects his growing status among his family. Heathcliff in WH similarly preserves Catherine’s “space” in the form of keeping her room untouched until Lockwood enters on the night of his arrival. Here, he appears to be haunted by the ghost of Catherine whose spirit could be seen as being trapped, until Heathcliff decides to set her free, once he secures his revenge. Entrapment is also something Christy (MLF) feels, being of sound mind inside his physically handicapped frame. Christopher (CN) too has his bedroom where he plays computer games and writes his journal. His “space”, later in the book, however, becomes unsafe and he is forced into the frightening outside world where he must navigate his way on his odyssey to London. Like Christy (MLF), Christopher is aware of his “difference” and his limitations.
All three outcasts in texts have a close personal relationship with a parental figure. In WH, Heathcliff is old Mr Earnshaw’s favourite, despite him being adopted. This causes great resentment in Hindley (and, at first, Catherine) who feels displaced as the legitimate son. In some ways this can be compared to the close relationship Christy has with his mother which appears to somewhat annoy Mr Brown. We see this on a number of occasions: when Christy rubs out Paddy’s chalked triangle, at Christy’s seventeenth birthday when his mother comments that ‘he’s a man at last’, and the porridge incident at the dinner table. However, where Paddy has redeeming qualities, Hindley does not. Christopher transfers his affection from his father to his mother on the discovery of her letters. These letters show her remorse for her actions and her deep affection for him, and he risks his life in his attempts to be reunited.
Although Christy (MLF) is an outcast because of his cerebral palsy, he gets a lot of support from his family, for example the chalk board, the football match, the coal stealing incident, and the art and writing materials. The neighbours, however, are not so sympathetic towards him at first, blaming him for the mother’s fall, and referring to him as ‘a poor unfortunate gobshite.’ Christopher (CN) also receives family support, as his father argues with his teacher to allow him sit his ‘A’ Levels and his mother stands up to Mr Shears so that Christopher can stay with her in London. His neighbours also consider him in a negative light as they do not understand his disability. Heathcliff (WH) only has Catherine for support, and later Hareton only has Cathy. Even Nelly at first admits to disliking Heathcliff for no obvious reason other than his complexion. He gets little sympathy throughout the novel, often portrayed as the devil himself. The other characters, and indeed the readers, do not understand the pain he is going through until near the end of the novel when he begins to withdraw and win our sympathy.
In order to express himself, to make his family understand that he is not mentally crippled as well as physically, Christy (MLF) must struggle against his own disability as well as his father’s inability to believe in him. One could quite easily argue that Paddy is the one who is psychologically crippled. The effort Christy makes to write M.O.T.H.E.R on the floor and the subsequent defiant look in his face shows the lengths he must go to be noticed and accepted. The same can be said of Christopher (CN) in his struggle for acceptance and identity, although Christopher is more sure of himself and somewhat less inhibited. His journey, however, is in no less way a heroic one culminating in his finding of his mother and the recovery of his true identity. Heathcliff (WH) also goes to enormous lengths to be accepted. In his case, he undertakes a plan of revenge to ruin Hindley and take over the two houses of Wuthering Heights and Thrushcross Grange. This is triggered by Nelly’s seemingly simple suggestion to Heathcliff (only to cheer him up) that he may be the son of an ‘Emperor of China, and your mother an Indian Queen.’ Mrs Brown (MLF) too, by believing in her son when no one else does, seems to be the one who encourages Christy to express himself. His first written word is therefore relevant and profoundly meaningful.
Having examined all three texts, it is clear that there are many comparative links to be found between them. Although the settings and time periods in which they are set are all different, the same issue of an outcast fighting for acceptance is prevalent in all three. All three main characters succeed in their own way showing great strength of character and determination to do so. And it is through this struggle that we get to experience characters at a deep and complex level, and ultimately a better appreciation of the texts.
The three texts with which I will discuss the theme of ‘outcasts and their fight for acceptance’ are ‘Wuthering Heights’ [WH] by Emily Bronte, ‘The Curious Incident of the Dog in the Night-time’ [CN] by Mark Haddon, and ‘My Left Foot’ [MLF] by Jim Sheridan. All three texts demonstrate how outcasts can succeed in being accepted into their communities through strength of character and determination; Christy in MLF, Heathcliff and Hareton in WH, and Christopher in CN.
Communication, or a lack thereof, plays a key role in all three texts as the outcasts struggle to be understood. In MLF, Christy tries desperately to make himself understood through, at first, painting, and then later through written and spoken words. In WH, Heathcliff’s desire for revenge becomes an obsession as he bulldozes his way to power by destroying all who stand in his way. He fails to communicate and articulate the great pain and yearning he feels for his deceased Cathy, his only friend and true love as a boy. Christopher in CN too has problems with effective communication, as his inability to lie causes numerous social faux pas, such as informing the policeman of his deliberate assault and questioning his neighbours about Wellington’s death. All three outcasts struggle in their fight for acceptance in part as a result of their inability to communicate effectively.
Our initial impressions of both Christy (MLF) and Heathcliff (WH) are that they are both a little rough and somewhat hardened by experience. Christy is wheelchair-bound and tongue-tied through cerebral palsy and Heathcliff is a gypsy child found abandoned on the streets of London and brought home by the wealthy Mr Earnshaw. Heathcliff’s attitude as he grows older becomes aggressive through neglect towards outsiders, and Christy’s language is crude and his drinking heavy. Christopher (CN) in contrast seems more fearful than aggressive, although it appears likely that he is prepared to commit violent acts in self defence: ‘I have my Swiss Army Knife and if they [the other school children] hit me and if I kill them it will be self defence and I won’t go to prison.’
Christy’s “space” under the stairs could be interpreted as his family trying to keep him out of the way, and from here he observes life. The camera allows us to see the Browns’ kitchen at first from Christy’s perspective. Later, when Christy writes his first word (M.O.T.H.E.R.), he desperately struggles to move with huge effort from under the stairs into a central space, surrounded by his family. This is a highly symbolic gesture which reflects his growing status among his family. Heathcliff in WH similarly preserves Catherine’s “space” in the form of keeping her room untouched until Lockwood enters on the night of his arrival. Here, he appears to be haunted by the ghost of Catherine whose spirit could be seen as being trapped, until Heathcliff decides to set her free, once he secures his revenge. Entrapment is also something Christy (MLF) feels, being of sound mind inside his physically handicapped frame. Christopher (CN) too has his bedroom where he plays computer games and writes his journal. His “space”, later in the book, however, becomes unsafe and he is forced into the frightening outside world where he must navigate his way on his odyssey to London. Like Christy (MLF), Christopher is aware of his “difference” and his limitations.
All three outcasts in texts have a close personal relationship with a parental figure. In WH, Heathcliff is old Mr Earnshaw’s favourite, despite him being adopted. This causes great resentment in Hindley (and, at first, Catherine) who feels displaced as the legitimate son. In some ways this can be compared to the close relationship Christy has with his mother which appears to somewhat annoy Mr Brown. We see this on a number of occasions: when Christy rubs out Paddy’s chalked triangle, at Christy’s seventeenth birthday when his mother comments that ‘he’s a man at last’, and the porridge incident at the dinner table. However, where Paddy has redeeming qualities, Hindley does not. Christopher transfers his affection from his father to his mother on the discovery of her letters. These letters show her remorse for her actions and her deep affection for him, and he risks his life in his attempts to be reunited.
Although Christy (MLF) is an outcast because of his cerebral palsy, he gets a lot of support from his family, for example the chalk board, the football match, the coal stealing incident, and the art and writing materials. The neighbours, however, are not so sympathetic towards him at first, blaming him for the mother’s fall, and referring to him as ‘a poor unfortunate gobshite.’ Christopher (CN) also receives family support, as his father argues with his teacher to allow him sit his ‘A’ Levels and his mother stands up to Mr Shears so that Christopher can stay with her in London. His neighbours also consider him in a negative light as they do not understand his disability. Heathcliff (WH) only has Catherine for support, and later Hareton only has Cathy. Even Nelly at first admits to disliking Heathcliff for no obvious reason other than his complexion. He gets little sympathy throughout the novel, often portrayed as the devil himself. The other characters, and indeed the readers, do not understand the pain he is going through until near the end of the novel when he begins to withdraw and win our sympathy.
In order to express himself, to make his family understand that he is not mentally crippled as well as physically, Christy (MLF) must struggle against his own disability as well as his father’s inability to believe in him. One could quite easily argue that Paddy is the one who is psychologically crippled. The effort Christy makes to write M.O.T.H.E.R on the floor and the subsequent defiant look in his face shows the lengths he must go to be noticed and accepted. The same can be said of Christopher (CN) in his struggle for acceptance and identity, although Christopher is more sure of himself and somewhat less inhibited. His journey, however, is in no less way a heroic one culminating in his finding of his mother and the recovery of his true identity. Heathcliff (WH) also goes to enormous lengths to be accepted. In his case, he undertakes a plan of revenge to ruin Hindley and take over the two houses of Wuthering Heights and Thrushcross Grange. This is triggered by Nelly’s seemingly simple suggestion to Heathcliff (only to cheer him up) that he may be the son of an ‘Emperor of China, and your mother an Indian Queen.’ Mrs Brown (MLF) too, by believing in her son when no one else does, seems to be the one who encourages Christy to express himself. His first written word is therefore relevant and profoundly meaningful.
Having examined all three texts, it is clear that there are many comparative links to be found between them. Although the settings and time periods in which they are set are all different, the same issue of an outcast fighting for acceptance is prevalent in all three. All three main characters succeed in their own way showing great strength of character and determination to do so. And it is through this struggle that we get to experience characters at a deep and complex level, and ultimately a better appreciation of the texts.