‘Pride and Prejudice’: (Re)narrativizing Gender Swapping of Darcy-Elizabeth & Resonance Phenomena of Austenean Fiction(alization) and the Hallmark Governess Genre Plight Leading to Avatars Whoremongering by Sartrean Castration Threat
Z I Mahmud
Independent Researcher
University of Delhi
New Delhi, India
Abstract: In my thesis, both Darcy-Elizabeth have altered
themselves in sexualized orientation of the normativity through gendered ego
idealization by ensembles of epistemic and ideological differences between
submission-subversion of being ‘never loved’ and ‘never grieved’. And I unravel
how chemistry between Heathcliff-Emily and Darcy-Elizabeth transforms phallus
envy to womb envy. What if women had an
Electra complex to complement the male’s Oedipal complex? What if the crucial
psychical relation were not to the phallus as a symbolic organ but to the real
of the mother’s body? What if there were no such thing as penis envy but,
rather, ‘womb envy’?
Keywords: Darcy-Elizabeth,
Heathcliff-Emily, Never loved, Never grieved, Penis envy, Womb envy
Enchantress and Temptress of the Heart and
Soul
Austenites’
deplorability and appreciability of the Byronic-heroic Darcy-Elizabeth is an
enigmatic paradox of the occidentalists in comparative literature classrooms of
the orientalists wrapped in compassion and humility from Regency era’s
space-time travel. After all, Westerners have contended to diglossic glossings
with the spectrality and aurality of the crucible of Grecian urn containing Gemini
of fear, hatred, disgust, ignominy, opprobrium, resurgent superciliousness and
egotistic arrogance. That the easter-eggs of the chambers of attic bequeath a
legacy of poetic epitaph from the temptress and enchantress of the heart and
soul:
Darcy
interiorizes scopophilia in communion with pleasurable enchantment of the
pathless woods and moreover he envisions voyeurism of the fetishizing fantasy
spectacle in patronage of stakeholder proprietorial of gothic Pemberley estate;
furthermore the patron-bohemian mystique hawk-like solitary recluse visage
envisages polemically the deeper shade of hauteur to wrought a campaigning for
championing queer and fluid gendered shadow amidst progressive-liberal womens’
sovereignty of emancipation mermaids; excruciating extricating themselves from
the tyrannical shackles of patriarchalism, sexism and misogyny.
Mind
forged manacles of optipessimist Darcy carols with the chorus of the spirit of
enlightenment and civilization to the entrusted last resort of eucatastrophe in
rapprochement of altruistic benignity and humanistic liberality amid the
torrential blizzard of Elizabeth Bennet’s ironical drolleries pervading,
penetrating, persisting through perennial millennials and coming-of-age
generations after generations even conquering territoriality of post-modern
scholarship and literary imaginative (land/mind)scapes of these scholarly
erudites’ psychic liminality associated with the realms of ideological fiction.
That
the struggle for idolatrous wife as iconic embodiment of life-partner in the
charisma of a soulmate incarnate after all resurrects histrionic
consequentiality through vicarious mystery of shedding of the promises of
inversion of conjugality and subversion of betrothal; since the fiance and
future-to-be-spouse manifests as a doppelganger bride of humanity
predetermined, prejudiced, predisposed, prevaricated and presentimentalized
exhibit of contemporary globalized modern capitalistic democracy salesperson
and commodity materialist enterprising shopping maiden.
However,
my philological intuition and speculative surmising would pontificate Darcy’s
disenchantment and disillusionment as curator of inhospitality towards a bunch
of autism-spectrum, schizophrenic and Downs’ Syndrome offsprings; thus
alienating the oblivion of obscured desire for want of survival of the fittest
and struggle for existence ritualistic wedding; dismantlement and discardance
of the institutionalized marriage; endangering the prospects of dynastic
heirloom in the continuing sustenance of heart-wrenching celibacy and/ or
sadomasochistic bachelorhood virginity’s plight grave depression through
repressive mourner of shrunk manliness elegizing demonization of Elizabeth
Bennet’s hubristic apocalypse; wrecking the former as emaciated simpleton
overpowered by the perilous whimsies of the latter fairie queen personage
deluges of dirge as a swindler-jilter; fashioning Miss Havisham’s tiara crowned
precious jewelled ornamental dreamgirl and fairy tale princess Estella—------a
brownie and pixie of disaster and catastrophe heaped in desperation of anger,
resentment, helpless imprecations, failures and fortunes.
Theoretical Lenses of Gender Swapping in
Darcy-Elizabeth
Austenean
pantomime of hero-heroine hauls over the coal transculutralist agrophobia in
exemplification of Darcy-Elizabeth’s looming precarious perceptivity
overlapping in the cusps between anthropogenic agency and subjective intuition.
Homecoming to the in-laws’ residency from the provincial regionality of her
native Longbourn aboriginality would cast her as a surrogate of automaton of
the titanic dungeon dollhouse Pemberley, creolizing and pidginizing vernaculars
colloquialism amidst the social circle of familial gregarious especially her
sister-in-law, Georgiana Darcy, adversarial countenance of her feminine gaze.
In
Melancholy Gender/ Reused Identification (1997) Judith Butler describes
unresolved griefs as preservation sites of repressive phantasy states of
heightened masculin[ized]ity and femin[nized]inity identifications in the
truest sense of being gay male melancholic and truest sense of being lesbian
melancholic. After all, Darcy-Elizabeth as beneficiaries of Butlerian drag
cross-gendered identification exposes or allegorizes mundane psychic and
performative practices by which heterosexual genders form themselves through
renouncing possibility of homosexuality, a foreclosure which produces both a
field of heterosexual objects and a domain of those whom it would be impossible
to love. In my thesis, both Darcy-Elizabeth have altered themselves in
sexualized orientation of the normativity through gendered ego idealization by
ensembles of epistemic and ideological differences between
submission-subversion of being ‘never loved’ and ‘never grieved’.
‘They
[women] actively respond to the male gaze, sexualize themselves and are more
than capable of exploiting men as sexual pawns.’ As explored by the navigating
sea-farer Austenite, Meghan Malone [You’ve Bewitched Me Body and Soul:
Masculinity and the Female Gaze in Jane Austen’s Pride and Prejudice], Jane
Austen offers a salad bowl of sexuality through her narratorial subjectivities
and dramatis personae perceptions and authorial impressions of characters. From
being a rom com to a courtship novel the regency romance paperback ushers the
then eighteenth and nineteenth centuries subversion of glances and looks
through erotic subject and voyeuristically male desirable object and/or
androgynous object and orgasmic female scopophilic agency. What the damn heck
on earth does Austen bolster the tenacity to aestheticize and sexualize
eroticization of the phallic domain through studying, criticizing, verbalizing
and visualizing the anthropocene and ecological repertoire of Pemberley in a
dreamlike maniac fashion.
After
all, courtship of a brother, a landlord and a master exonerates wooing for
wedding and thus becomes the specimen for Austenian-Elizabethan heroic-virility
figures of ideal ego formation. Darculinity is my etymological synecdoche for
Darcy’s masculinity whilsts bearing in mind of the projection of feminine gaze
and spectacle in the interpretation of the scholarly critic: “Through her
[Elizabeth] gaze, she objectifies him [Darcy]; through her objectification, she
sexualizes him; and through her sexualization she comes to love him”. This
trenchant female gaze orchestrates the eighteenth and nineteenth century
Regency and Romantic era culture and performative nature of sexuality with
espousal of neo-masculinity traits embodied in transformation and adaptation of
male figures.
Governess and the Woman Question of Victorian
Bildungsroman
That
the Brontean heroes were conspicuously fiery fizzy figures with forward looking
social reformer demeanor nonetheless envisions patronizing
governesses-seductresses spinsterhood as the menacing symbol of unencumbered
femininity through salvaging the ship wreckage perpetrated by fossilization of
work life via the conduit of marriage. Contemporary literary, cultural and
historical criticism interpolates novelistic reading of the governess genre as the
vulnerable heroines of tragic plight in abysmal possession universalistic
traits of being lonely pitiable and exploited in the nineteenth century England
as insinuated by Nora Gilbert in her landmark essay, “A Servitude of One’s Own:
Isolation, Authorship and the Nineteenth Century British Governess.” Gilbert
argues that the perception and reception from being governesses to authoresses
engineered the endangered spots of deserted schoolrooms and dusty attic
chambers for their habitual and productive leisurely pastimes in venturing
vocation of novels, letters, memoirs, journals, diaries, poems and fictions.
Governessorial
life has been implicated to be purported threats of social, sexual and
financial realms despite their arduous and unfair lot within the residing host
families. Status incongruence is the
ebbs and flow of the non-conformist governesses adventurous rebellion against
conformity of the hackneyed microcosm. The precariousness of her herculean
struggle from trials and tribulations of father’s succession and economic
downfall is after all a transcendence toward upward social mobility. It is a
truth universally acknowledged that then a spinsterish governess' plight might
be reckoned to be the beckoning of pairing in husbandry with eligible bachelors
of elitist aristocratic gentry grandfolks grandiosity in acquisition of a quest
for prospective partner as arbour from death in life. Narratological
storytelling hovers in the foible gazes of being both active participant and
impartial observer in country governess to a betrothed lady of such class and
gender questers. Misfortunes, mischiefs and misery befallen upon these foils of
seductress-temptresses loom quintessentially in edifices of being and
nothingness.
I
am not being emotionally fraught in favour of arts for an arts sake in revising
genres and periods of novelization. In the light of the titular significance of
the journal article I wish to emancipate the barriers of gender and sexuality
by liberal minded spirited authority. The purpose of the thesis is a polemical
indictment of gender transformation likely to be espoused by Ausenites and
Brontean scholars alike in theorizing and philosophizing literary studies for
the sake of contemporary comparative literature and culture rather than exploratory
mapping in surveys of postcolonial world literature. That governessing
bildungsroman and non-governessorial rom com novels will both be cast as focal
and periphery is of subtle distinction to be psychoanalyzed by interpreters of
global readership. After all, we vicariously and viscerally wonder and marvel
whether Edward Fairfax Rochester and Fitzwilliam Darcy’s grumpiness and
grouchiness hoodwinks to the foray of brazen zealotry of loving damsels
-in-distress and snow white Cinderellas amid wretched bondage that surreal
daydreamer Dickens glaringly harboured in heroines of lifetime.
Loneliess
begets inventiveness and boredom begets creativity for these twilight and
solitude mystique questers for talismanic amulet in swearing swags for Niagara Falls
of transatlantic and transpacific waves of Indie Bookshop phase in Miss Austen
and Miss Bronte. I imagine Autenties and Bronteans in indulgence of cocktail
party with bookshops of litefest bookhauls, Rockefeller astrophysics and
astrobiology Olympiads experiments, drugstores of toxic rhododendrons, a bar of
inflammatory antibodies, a den of trailblazer morphine and over the moon opium,
a variety den of sleeping draughts and an island of succubus and incubus. To
walk the invisibles with the riddle of the paradox between devil and the dead
sea of bohemian lamb shepherdesses encountering femme fatales and bookish deus
ex machina is a stellar brilliance moment bestowed upon stargazers and
astrophotographers. To unburden the swollen hearts of repressed and oppressed
lives in view of servitude might be salmonella hiccups waved by hypocritical
gazers of focal subjectivities. Modern women stargazers and astrophotographers
crucially compose verses despite windy stormy clime-environ-anthropocene as
stalwarts of women heralds of Satrean look-for-itself and the look of the
other. However, will these revolutionary antique recollectors be indulged in
unearthing and deconstruction of baking puddings, knitting stockings, playing
on the pianos and embroidering handicrafts is a matter of fact for speculative
narration.
Bucolic
bellicosity of these pastoral Brontes have engraved comp.lit stewards for
Bronte festivals to be staged with nationalist patriotic internationalism
beyond Englishness and foreignness in cross cultural referencing from
governessorial to governorship. Part and parcel of Victorianism is the
zeitgeist heyday of sovereignty through service, iron-cast emblem of servitude,
curating pathway and gateway for these phallic feminist crusaders converging
and diverging work and domesticity, isolation and privacy, subjugation and
liberation of the New Women Movement.
Following
the worst economic and unemployment crises of the 1830s-1840s Victorian
distressed gentlewomen were puppets of pauperism which lead to whoremongring preoccupation
as reflected by the veteran study of the American scholar Millicent Bell in
Classics Revisited: Jane Eyre: The Tale of the Governess (2014):
‘The
possibility of pauperism raised an even more alarming spectre in the mind of
the comfortable class: pauperism might lead literally to the ultimate in female
degradation, prostitution, to which the unemployed woman, once a Lady, might be
driven. This employment of her feminine attributes was an ultimate condition
already dangerously intimated in her descent into the ranks of teachers and,
even more, of governesses. More comprehensively than the teacher who teaches
outside the home, the governess is paid to perform the motherly functions of
protecting and caring for children and teaching them in their own homes, as the
prostitute offers wifely sexual service for payment. In Jane Eyre the governess
is the maternal surrogate for an orphan, yet governesses may be said to assume
these roles even where the middle-class mother is present but has surrendered them.’
Transgressive
women of Victorian ladyhood were maliciously disgraced and befallen deranged
despite entrusted with the charge d’ affaires of the family affairs especially
curatorship and governorship of heirloom. Financial independence and economic
freedom were spotlighted to be the causes and effects in this backdrop. Edward
Fairfax Rochester is a paymaster and Jane Eyre is a working class governess
with pecuniary impetuousness. The gulf of cham between these classimmobility
pairs foreshadows the untarnished and unstained relationship which later on
culminates into blasphemy. That the romantic imagination of fantasy
penultimately wrecked a havoc of transgression. After elopement from Thornfield
Hall, the heroic protagonist was destined to hunger and starvation despite the
prevailing Governesses’ Mutual Assurance society in 1829 and Governesses’
Benevolent Institution in 1841.
In
Charlotte Bronte and the Woman Question, published in the Economic Political
Weekly, Sangeeta Dutta propounds the spectre phallic question of castration
threat possessing in vindication of feminine empowerment upon behests of
emasculation. It cannot be gainsaid that disempowered masculine figure swear
off heroine’s regression in her transformative quest for empowered selfhood identity,
emancipatory femininity and libertarian phoenix spirited womanization.
Emily
Bronte’s being in itself enshrines death oriented and elegiac poetess embodies
enlightenment through enslavement. By wrapping herself into the frostbite of
winterfall glimpses and gleams in the attire of Heathcliff’s enamoured bust
bosom intertwined within immortality of edenic paradisical nightmarish
death-in-life tomb. Divine deliverer and the villainous scapegoat together
emanates otherworldly gazes of Bronte-Heathcliff with promissory antidote and
expurgation from the sadistic masochism. Thus in Emily Bronte and the
Metaphysics of Childhood and Love, professorial commentary by Irving H. Buchen
( 1967) underscores of behind the scenes polarization amid a constant revelation
of the past and a constant anticipation of the future —--- ‘an uncompromising,
agonized yearning of one soul for another—--but it is never corporeal just as
it is never temporal.’ The gulf of relationship between unrequited lovers and
souls fancies thenceforth chasm between heaven and hell and eventually ministry
of paradise lost and paradise regained. In other words the questers of
immortality undertake transposition and interchangeability in order to
metamorphose being for themselves as pristine lovers of sempiternal
companionship and transcendental union. Had the governess novelist and
governess poetess stooped her into avatarism of educationalist trade and
literacy expertise then Sartrean craftswomanship indefatiguably elevated her to
the classic cult of gothic romance.
Chemistry between Heathcliff-Emily and
Elizabeth-Darcy
The
nadir of Brontean Heathcliff suggests titanic treasure of museumification
engraved in rocks, hills, mountains, waterfalls, winds and storms and moors and
dales of Yorkshire as interlacings of gipsy wildernesses and gipsy
tendernesses; in contrast, the nadir of Austenean heroization capriciously
implies the utterances of anthropomorphic Darcy’s Draculinity chiseled in
verisimilitude of vales and glens of Chatsworth House as in ‘You’ve bewitched
me body and soul’. Virility and sexuality of Heathcliff after all nonetheless
overpowers the governess' plight in ubiquity of temperament, spirit, mind, soul
and heart of Brontean mystic recluse solitary heroine Catherine.
These
antecedent polemics, having said, indemnifies the Freudian slippage for
Christs’ sake in phrasing of Draculinity and impulsivity of readers which will
lead the shadowy milky way of deconstructing Heathcliff nevertheless within the
cottage of perceptive viewpoints. Literary historians are gratuitously regarded
with the best welcoming to the gateway in the heartland of Brontesque and
Austenites chronicles, sagas and voyages; however, these charge d affaires are
often times rendered upon purveying readerly speculators and scholarly
interpreters phantoming chameleon of returning home or homecoming theorizers
with diasporic geniuses and interracial leanings. This gateway might be alien
newness into transitioning occidentalist or South Asian new[s]comerness into
the mythical realm of the space station of cornishness. Since this tourist
gateway ought to transit anchoring the trailblazing getaway for Celtic heritage
from Celtic castle to facilitate open endedness and expansion of
neopostglobalist understanding. Dramatic cliffs and sandy beaches popularize
quintessential holidays destinations of Jane Austen’s House and Bronte
Parsonage Museum Memorials; lest homesick legends of buccaneership and
hobgoblins of goosebumps wrecks visitorship and curatorship in souvenir hunt
and archives be preyed upon. Cross fertilization of souvenir hunt and archives
be preyed upon herein reiterates the itinerary of my perceptivity of David
Damrosch’s chapter in Meetings of the Mind: Bloomington Traveling Theory Comes
Home reconsidering exilic homelessness of swashbuckler emigre travelers’ theory
abroad. Parenthetical paraphrasing of the thronedom of literary traditions and
crusade of cultures clashes will, without wonder, squander diplomatic passports
into a plague of plunder. From reflecting gazes of being in itself and being
for itself as scholarly duties wrought in Elizabeth-Darcy to the mundane
customs grafted in Sartrean esotericism, I am inclined in grecian arcade of
bucolic slumber wake by surreal dream of earning a wage for a espresso-cappuccino
with transaction in foreign currency aftermath of established governessorial
role cast post graduate certification degree qualification from abroad
apprenticeship into utilitarian resourcefulness to reverse brain drain of
native institutions and indigenous agencies. I marvel to grace diplomats and
expatriates of diaspora with trenchant and penchant for homeliness and
homelessness in resource discovery that these excrescences ought for adaptation
and adoption. The future might eradicate existentialist barriers towards
professional career by abolishing un/non belongingness through fostering
parental migration with children immigrants residency in smithing togetherness
fortunes or immortalizing mutual transcendence. Thenceforth I shall deliver
without hell of torment, the keynote address entitled, Mythopoetic Tradition in
the Aesthetics of Fantasy Fiction Genres in utopian romantic and realist
gathering.
Phallus Envy Transforms to Womb Envy
Adventurers
and adventuress would deign to brink of stupefacient in deconstructing
chemistry of Elizabeth-Darcy and Catherine-Heathcliff with arriviste
scholarship of feminist film theory as projected in the Bloomington Travelling
Theory Comes Home [David Damrosch, Princeton University Press, pp. 67] What if women had an Electra complex to
complement the male’s Oedipal complex? What if the crucial psychical relation
were not to the phallus as a symbolic organ but to the real of the mother’s
body? What if there were no such thing as penis envy but, rather, ‘womb envy’?
. . . These ‘what if’s’ are no more than the signs marking the well-worn
dissident paths of reductive biologism, sociologism, or mysticism of the
feminine; a kind of thinking, not solely confined to feminism, which sidesteps
or dismisses years of reasoning and debate on the problematic status of these
‘alternatives.’ The Virgin Machinery of Jane Austen and Emily Bronte wouldn’t
be cloistered within the cultural wasteland of deracination rather elvishly
travel in the magic carpets of globalization epoch-making homogeneity
especially bonfires of tricontinentalism.
British
eves and British adams are testimonial to the guiding spirits and kindred souls
of collegiality in forswearing miscegenation; however postcoloniality and
postnationality spurned the testamentary jingoism with nationalistic
internationalism in case of originary and receptive cultures of export-import
theory and practice. American eves and American adams would-be conglomerate
crossover of westerners in staging rolecast and impersonating visages of Austenites
and Bronteans. Contemporary exploration encompassing occidentation wouldn’t
deign downcast approachability by jettisoning the indigenous and native
masterpieces of cultural politics and political culture of the silhouetted,
obscured and oblivion to endorse and elicit fulsome province of British and
American studies of world literature. Foreign trade of national literatures is
a salsabil of this linchpin in aesthetics and hermeneutics of the coordinates
of spatial and temporal displacements leading to canon formation and global
readership. Bedrock of universal brotherhood and universal sisterhood
collaterally eschews uprootedness and spiritual exility; Bertha Mason and
George Wickham to cater heraldry of rapprochement in ontological gapping that morality
and destination have divinely ordained Edward Rochester’s and Elizabeth
Bennet’s network of relationships. Bertha Mason’s and George Wickham’s pose
rupture of Bloomian criticism: obsolescence of ‘aesthetic formalism and
canonicity of the individual thinking’.
A
faze of the governess plight is invoked by the reincarnation of Emily’s Bertha
as cited by Reginald Watson in critiquing the racial stereotypes of
Heathcliff’s persona and behaviour to be much more complex and intelligent
being. Her ‘Had Images of Blacknessness in the works of Charlotte and Emily
Bronte’ covertly engender Catherine Earnshaw/Catherine Heathcliff/Catherine
Linton in the mimetic impersonation of the mad woman of the attic in overtly
demonstrating her resistance and rebellion against white, Eurocentric misogyny?
In other words the euphemism for miscegenation strikingly denotes mulatto
suggesting that hybrid mixing of bloodiness between white and black union.
Otherization and marginalization of the status quo is starkly visible in the
backdrop of inhumation embedded in the unrequited relationship between
Heathcliff and Catherine.
Or
had Jane Eyre been loutish and oafish in her philistinism toward the missionary
livelihood with St. John Rivers since low-brow and ignoramus colonial subalterns
were inhumane savage brutes for the fulfillment of extramarital affairs? That
princeship and dukedom of the further eastern hemisphere within the
abolitionist colonial British empire was hostile and indifferent to her taste,
fashion, education, behaviour, practices, institutions and culture. Far and Middle
Eastern cultures par excellence de facto cannot be eschewed from the allusive
idiolects in queen of India for angloindianness during Victorian times. In
addition whoremongering of governess fiction sheds further light in implication
mixing of traits bred offspring between impish Catherine and mulatto Heathcliff
as indicative of the statement in ‘[…]wicked slut to leave you in ignorance of
the sort of father you possessed’. So
far anti anglo africanization as a literary prop posits borderline in the
fringes of colonization and/or decolonization, threshold of virginity and
sexuality is open to question.
The
moral and racial superiority of the British women working class governess in
spite of psychic dark double for symbolic repressed figure of femininity
unearthings; bolsters herself as colonizer civilizer by her escapade from the
Thornfield because her Britishness exemplified in white womanhood ought to be
alienated and isolated from rivalrous counterpart of foreignness encapsulated
in Bertha Mason’s miscegenation. That miscegenation unequivocally is the
premiere exemplar of creole Englishness, white creole, mixed heritage, racial
ambiguities and/or ambiguities of roots.
In
the ending note I am reciting the oratory rhetoric of poetic-prose in
commemorative interminations of Elizabeth-Darcy, Emily-Heathcliff and
Jane-Rochester:
Oxford
and Cambridge Gabrielalter:
Sherzaid’s
craftsmanship wants thy fame craze,
Publish
verfremdungseffekt of thy Gilgamesh,
On
the Sistine Chapel of Sorbornne Maple.
Sherzed
dies and Sherzed lives;
While
Salsabil laughs and Salsabil cries;
Sherzaid:
a prince of Persia?
Salsabil:
a princess of Arabia?
Sherzed
paints a canvass of woebegone tales;
From
the Persian Court into Ashoka’s den.
Salsabil
sings and Salsabil dances;
From
the Arabian peninsula to the Palestine plains.
Chants
of guestmanship of empyrean gale;
Telegraphic
newsletter Saraswati’s bale.
I
can’st travel toward palatial reception,
As
destiny would’st succeed happily-ever-after.
Works Cited
Buchen,
Irving H. 1967. “Emily Bronte and the Metaphysics of Childhood and Love.” Nineteenth Century Fiction 22, no. 1
(June): 63-70.
Butler,
Judith. 2004. The Judith Butler Reader.
N.p.: Blackwell Publishing.
Gilbert,
Nora. n.d. “A Servitude of One's Own: Isolation, Authorship, and the
Nineteenth-Century British Governess.” Nineteenth-Century
Literature 69 (4): 455-480.
Grant,
Candace Nolan. n.d. “Jane Austen's Speech Acts and Language-Based Societies.” Studies in English Literature 49 (4):
863-878.
Malone,
Meghan. n.d. “"You've Bewitched Me Body and Soul": Masculinity and
the Female Gaze in Jane Austen's Pride and Prejudice.”
Watson,
Melvin R. 1949. “"Wuthering Heights" and the Critics.” The Trollopian 3, no. 4 (March):
243-263.
Watson,
Reginald. 2001. “Images of Blackness in the Works of Charlotte and Emily
Bronte.” College Language Association
44, no. 4 (June): 451-470.