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Profanity
“Money doesn’t talk, it swears.” Many of the most brilliant minds throughout time have used profanity. Shakespeare’s best works were revised and edited in order to remove the numerous curse words or obscene phrases he included. The harmless use of profanity in an informal setting should not be penalized, by the assignment of an essay. Profanity continuously evolves, and has a very rich and interesting history. The system of assigning essays for the use of profanity is ineffective and counter productive. “When angry, count four; when very angry, swear.”
The evolution of profanity began in the sixteenth century, and it evolves with each generation. Profanity is recognized in many Shakespearean works, and has evolved into the profane language used today. Some cuss or curse words have somehow maintained their original meanings throughout hundreds of years, while many others have completely changed meaning or simply fallen from popular vocabulary.
William Shakespeare, though it is not widely taught, used a rather vulgar and dirty vocabulary in his writings. His works included subjects that some people wish they had not. "That includes a fair helping of sex, violence, crime, horror, politics, religion, anti-authoritarianism, anti-Semitism, racism, xenophobia, sexism, jealousy, profanity, satire, and controversy of all kinds" (Macrone 6). In Shakespeare’s time, religious and moral curses were more offensive than biological curses.
Most original, prior to being censored, Shakespearean works contain offensive profanity, mostly religious, which is probably one of many reasons that his works were and continue to be so popular. "Shakespeare pushed a lot of buttons in his day- which is one reason he was so phenomenally popular. Despite what they tell you, people like having their buttons pushed" (Macrone 6). His works contained many profane words or phrases and as a result, were censored to protect the innocent minds of the teenagers who are now required to read them, and also because they were blasphemous and offensive. Almost all of the profanity was removed, and that that was not had just reason for being there. Some of the Bard's censored oaths are; "God's blessing on your beard" Love's Labors Lost, II.i.203 This was a very rude curse because a man's facial hair was a point of pride for him. And "to play with someone's beard" was to insult him.
"God's body" 1 Henry IV, II.i.26 Swearing by Christ's body (or any part thereof,) was off limits in civil discourse.
In an attempt to push away from medieval love conventions and her father's authority, Shakespeare's Juliet asserts sovereignty over her sexuality. She removes it from her father's domain and uses it to capture Romeo's love. Critic Mary Bly argues that sexual puns color Juliet's language. These innuendoes were common in Renaissance literature and would have been recognized by an Elizabethan audience. Arguably, Juliet uses sexual terms when speaking to Romeo in order to make him aware of her sexuality.
Swearing has the ability to get someone in a whole load of trouble at the dinner table with their mother but could also be their choice of words when they accidently stub their toe on the coffee table in the living room. Natalie Angier discusses this controversial topic of words that shouldn’t be said in her article feature in The New York Times, “Almost Before We Spoke, We Swore”. Provoked by a recently proposed bill to increase fines for using swear words on television, Angier analyzes not only the impact of swearing, but also where the desire to speak obscene words comes from. She references many credible studies and sources as she unfolds her argument. She uses a diverse slew of studies, experiments, and famous pieces of literature and
Pinciss, Gerald M.. Forbidden matter: Religion in the Drama of Shakespeare and his Contemporaries. Newark: University of Delaware Press , 2000. Print.
By using just the right combination of words, or by coming up with just the right image, Shakespeare wrote many passages and entire plays that were so powerful, moving, tragic, comedic, and romantic that many are still being memorized and performed today, almost four centuries later. But the greatness of Shakespeare’s ability lies not so much in the basic themes of his works but in the creativity he used to write these stories of love, power, greed, discrimination, hatred, and tragedy.
Wuthering Heights seems to be a series of destructive decisions. Heathcliff and Catherine never achieve a life of happiness together; their actions cannot lead to a blissful ending. The other characters are guilty of creating their own strife, whether from personal faults or lack of wisdom. In a way, Emily Bronte’s ability to weave flaws into each person’s character lends a sense of reality or humanness to the novel; no one is seen as entirely good or bad. Without lecturing her readers, Bronte demonstrates just how regrettable succumbing to impulses can be. I realized while reading that even though their lives have an aspect of romance, I would never want to live the way that they did.
In the gothic novel Wuthering Heights by Emily Bronte, the author hides motifs within the story.The novel contains two major love stories;The wild love of Catherine, and Heathcliff juxtaposing the serene love of Cathy,and Hareton. Catherine’s and Heathcliff's love is the center of Emily Bronte’s novel ,which readers still to this day seem to remember.The characters passion, and obsession for each other seems to not have been enough ,since their love didn't get to thrive. Hareton and Cathy’s love is what got to develop. Hareton’s and Cathy’s love got to workout ,because both characters contained a characteristic that both characters from the first generation lacked: The ability to change .Bronte employs literary devices such as antithesis of ideas, and the motif of repetition to reveal the destructiveness of wild love versus a domestic love.
Catherine is the first woman that Heathcliff is introduced to. He treats her well; Heathcliff has never struck her or curse her. Throughout their childhood and adolescence, the pair are inseparable. When Catherine is injured at the Linton’s he refuses to leave her side,
There is two stereotypical types of families, one where the children learn from their parents behavior and do the same as they grow up, and the other where they dislike – and do the opposite. In Emily Bronte’s Wuthering Heights, the characters are quite intricate and engaging. The story takes place in northern England in an isolated, rural area. The main characters of the novel reside in two opposing households: Thrushcross Grange and Wuthering Heights. Wuthering Heights is a story of a dynamic love between two people. This love transcends all boundaries, including that over life and death. The author takes parallelism to great extends. Much of the events that happen in the first half of the story correspond to events in the second half; first generation of characters is comparable to the second generation. Many may argue that the characters are duplicates of each other and that they share many traits. Although Catherine Earnshaw and Cathy Linton are mother and daughter, their personalities and lifestyles are very different. This is a great example where the child is and behaves quite different than her mother.
Furthermore, the love that Heathcliff’s young niece and nephew share is one that echoes that of what his and Catherine’s love could have been, which provides even more ground for the fiend to tyrannize the two. The semblence in their relationships can be seen in comparable scenes, the first of which recounts Catherine uttering, “It would degrade me to marry Heathcliff now…” (74) Later, Heathcliff pronounces apropos of Cathy caring for Hareton, “Your love will make him an outcast, and a beggar.” (299) The similarities between their two relationships is therefore outlined in their alluded elements of shame and social degradation that can be found in both occasions , and this likeness further agitates the aching heart of Wuthering Height’s antagonist.
William Shakespeare, poet and playwright, utilized humor and irony as he developed specific language for his plays, thereby influencing literature forever. “Shakespeare became popular in the eighteenth century” (Epstein 8). He was the best all around. “Shakespeare was a classic” (8). William Shakespeare is a very known and popular man that has many works, techniques and ways. Shakespeare is the writer of many famous works of literature. His comedies include humor while his plays and poems include irony. Shakespeare sets himself apart by using his own language and word choice. Shakespeare uses certain types of allusions that people always remember, as in the phrase from Romeo and Juliet, “star-crossed lovers”.
His assertion focuses on how their relationship is a displaced version of symbiotic relationship between mother and child. Emotionally, Heathcliff is the world to Catherine just as a mother is to a child and a child to a mother. (p. 366). This statement is supported by a passage in the novel in which Heathcliff has left and she seeks him calling for him at intervals and crying hard enough to beat out any child (p. 88-90). Upon Heathcliff’s return, Brontë uses language that Wion believes depicts the cessation of their relationship’s development in the Freud’s oral stage of libidinal development (p. 368). Brontë uses phrases such as “drank from hers” when discussing them gazing at each other and “They were too much absorbed in their mutual enjoyment…” (p. 99, 368). The use of this language is interesting and begs us to question if its use was intentional to display the basicness and necessity of their relationship as if to say that they could just as easily not be together as they could stop consuming sustenance. The novel demonstrates many times that the relationship between Catherine and Heathcliff is fundamental to their existence. A major piece of evidence supporting this is Catherine’s breakdown when Heathcliff leaves as well as when Heathcliff and Edgar’s disagreement reaches a point where Edgar forces Catherine to decide between himself and
Dr. Micheal Delahoyde, n.d. Web. 23 Feb. 2014. Garber, Marjorie. " Shakespeare as Fetish." Shakespeare Quarterly: n. pag.
Shakespeare has perhaps contributed the most to the English language of any writer known to man – literally. Over 1000 words and phrases that he coined as part of his plays and prose are now in common use across the globe. He changed nouns into verbs, verbs into adjectives, added on previously unheard-of prefixes and suffixes and in some cases made words out of nothing. Even culturally sensitive words such as ‘ode’ (The ANZACS) and scientific jargon (‘epileptic’) are in fact products of Shakespeare. Bernard Levin probably summed this up best when he wrote: “If you cannot understand my argument, and declare "It's Greek to me", you are quoting Shakespeare; if you claim to be more sinned against than sinning, you are quoting Shakespeare; if you recall your salad days, you are quoting Shakespeare; if you act more in sorrow than in anger, if your wish is father to the thought, if your lost property has vanished into thin air, you are quoting Shakespeare; if you have ever refused to budge an inch or suffered from green-eyed jealousy, if you have played fast and loose, if you have been tongue-tied, a tower of strength, hoodwinked or in a pickle… had short shrift, cold comfort or too much of a good thing, … - why, be that as it may, the more fool you, for it is a foregone conclusion that you are (as good luck would have it) quoting Shakespeare;…” (Bernard Levin. From The Story of English. Robert McCrum, William Cran and Robert MacNeil. Viking: 1986).
Wuthering Heights is a symbol of the distinctive commotion, which is the overriding force in Bronte’s novel. A force that will damage, twist and harm anyone that comes across it. The actual meaning of the word ‘wuthering’ is a wind blowing strongly with a roaring sound. This picture serves as a metaphor that people, money, emotions, love etc… will be in jeopardy if not hold tight. Above all, this novel is obviously about love, a different and odd love. Emotions and love in this novel turn out to be very violent, brutal and ruthless just like wuthering.
...e between Catherine, Heathcliff, and Edgar. The actions that these three took as a result of this affected each other and their children greatly. The forced “love” that existed between the relationships of Edgar and Catherine and Catherine II and Linton is one type of love to the novel. The absence of love in the marriage of Isabella and Heathcliff adds another depth to the story. The great love that caused Hindley to result to alcoholism following his wife’s death adds another form of love to Wuthering Heights. The “happy-ending” love between Catherine II and Hareton is another type of love within this novel. Finally, the love between Catherine and Heathcliff that began as a love between playmates in childhood and transformed to obsession following Catherine’s death is a powerful type of love in this story that affects all of the rest of the characters.