The document compares the presentation of destructive love in three texts: Shakespeare's Othello, Emily Bronte's Wuthering Heights, and Robert Browning's poems. It discusses how all three explore how characters struggle with insecurities that disrupt relationships. It analyzes how irrationality influences Othello and love, and how controlling aspects of relationships can also cause destructive love. Shakespeare, Bronte, and Browning convey how destructive love can emerge from societal influences.

1. Compare and Contrast the Presentation of the Destructive Love in Othello,
Wuthering Heights, and Robert Browning's Poems
In all three texts, the disruptions of relationship is caused by characters struggling with
personal insecurities, evoking a sense inner conflict. Browning explores the power
struggle between men and women, whilst Bronte questions the way in which society
imposes gender identity. In "Othello", Shakespeare illustrates irrationality as a detructive
influence on love, as it obscure's Othello's judgement, whilst in his poetry, Browning
considers the way the controlling aspect of relationships can cause destructive love..
Shakespeare, Bronte and Browning convey the way in which the vengeful nature of love
emmerges from societal's ....
Shakespeare illustrates the demise of Othello through the way in which he is allowed to
conform to uncivilised and irrational behaviour, reflecting society's racial stereotypes.
However, in his early appearances, the courteous moor is portrayed as a gentleman with
his calm and assured nature, as he states his many great achievements. Literary critic
FR Leavis describes him as the "nobly man of massive action", influenced by the claims
made by Othello of his "Services of which I have done" for the state, earning him respect
as a senior military figure. These went against the remarks made earlier in the play, as
the likes of Iago referred to him as the "old black ram", an "abuser", and insinuates that
he has "robbed" Desdemona off her father Brabantio. This correlates with the
perceptions from the people of the Elizabethan era, that the blacks were barbaric.
However, the changes we see in Othello's behaviour, throughout the play, could
symbolise him succumbing to society's construction of him, as he admits "yet nature
erring from itself", echoing Brabantio's earlier description of Desdemona's love for
Othello as "Against all rules of nature". Furthermore, this can change our interpretation
of his earlier portrayal to be a brave front to hide his personal insecurities, having
experienced racial discrimination. Similarly Heathcliff is entrapped into other's depiction
of him, as he is never allowed to tell his side of the story. This inherent weakness in his
personality assembles the basis for the destruction of the love between him and
Desdemona.
The context in which Heathcliff was plunged in, allows him to descend towards
destructive behaviour. Heathcliff was introduced to the Earnshaw family as "dirty,
ragged, black-haired child", who was immediately disparaged by questions of parentage,
mouthing "gibberish", and his dark otherness branded him a "gypsy". Nelly
foreshadowed the impact Heathcliff was due to make when she claimed he "bred bad
feelings" right from the beginning. In the early chapters, Hindley’s actions are rough and
abusive towards Heathcliff, even referring to him as a "dog", which further dehumanises
him. This transforms Heathcliff from an initially innocent quiet boy, to an extremely
revengeful man. This could signify the fact that Heathcliff was a victim of circumstance,
rather than being naturally evil. Here, Bronte also explored the ideas of how society and
its values can overpower the individual.

2. Through Catherine, Bronte explores the idea that women at the time could only be
successful when following the social desires of the ideal woman. Catherine is a
controversial character, who is more outgoing and free-spirited than the typical woman
of the time. Her character possesses a wild passion, which is dictated by her love for
Heathcliff. Catherine expresses her feelings for Heathcliff which "resembles the eternal
rocks beneath" reflecting her necessity for love, as opposed to romantic lust. The use of
natural imagery radiates a sense of timeless love, whilst the use of harsh words like
"perished" or "annihilated" gives off the impression of her love being raw and wild,
emphasising her inability to keep her feelings under control. Moreover, it could
foreshadow how their love eventually becomes intoxicating, destroying their lives and
disrupting other relationships in the novel. However, Catherine chooses to go on and
marry Edgar Linton, following social conventions of looking at status and background for
the most suitable husband. In contrast, Desdemona has it in her to see beyond the
social pressure and beliefs, and can accept Othello for who he is. However, irrespective
of their choices, the fates of both women end badly. Catherine's decline shows how this
kind of female character cannot exist in that sort of world. This could symbolise the idea
that women are not in power of their own destiny, and how love became a destructive
influence in their lives
On the other hand, the depiction of the speaker in "Porphyria's lover" introduces the
concept of male inadequacies. Browning begins the poem, with prophetic fallacy,
including harsh sounds like "Awake", "Spite" and "Vex", evoking darkness and anger,
amidst a stark sense of sorrow as his "heart was fit to break" The narrator claims "I
listened" symbolising how these imageries echoes his emotions, but it's also clear that
he's being passive to the situation placed in front of him. In contrast, Browning manages
creates the impression of porphyria crossing this somewhat turbulent barrier to be with
her "lover", as "she shuts the cold out" - the rest of society - helping to symbolise the
strength which she has shown. The language of inadequacy is also evident as the
speaker admits "She put my arm around her waist" implying that he is reliant on her.
However, when he realised "Porphyria worshipped me", this made his heart "swell" and
"grew", as the sense of inferiority dissipates. After her murder, his "shoulders bore" this
time, implying he has gained power in this relationship and no longer feels inadequate.
However, the narrator doesn't ever truly feel that he has attained complete revenge as
he saw her blue eyes "laugh'd... without a stain". Perhaps this signifies a sense of power
women can hold within relationships. In "Wuthering Heights", when Heathcliff returns, he
is described as "tall" and "athletic". The language use illustrates him as a superior and
commanding presence, portraying him in a more respectable tone than before. It
illustrates how he had to portray his identity differently, through physical appearance, to
prove his worthiness in society. This could demonstrate how male inadequacies was a
destructive force in their love life, which led them to commit immoral acts
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In "My Last Duchess", Browning explores the objectifying nature of possessive
relationships. Through language, the narrator intends to manipulate an image he was

3. the rest to see. The use of continuous enjambments, attempts to obscure the reality of
his behaviour to command his wife to be killed. When the Duchess was alive, the Duke
could not control what he believed to be her overtly flirtatious nature. "This grew; I gave
commands; then all smiles topped together", as he considered her to being unfaithful.
The use of semi-colons emphasises his sense of control and authority, and this reflects
the efforts in Victorian society to mould human behaviour in context to Victorian morality.
This indicates that the destruction of their love was caused by a power struggle. The
duke also points out to the portrait and the "spot of joy into the duchess cheeks" which
further mirrors the idea that women can not be defeated, as her personality – of which
he tried to suppress - is still ever present beyond death. This is an element of reality he
could not disguise, and could therefore insinuate that this is still haunting him. On the
other hand, in "Porphyria's Lover", the speaker attempts conceal Porphyria's covert
sexuality, to try and overpower her. He uses enjambments, "--she, Too weak, for all her
heart's endeavour", to signifies his belief that she should be punished for her natural
sexuality. After her murder, he objectifies her body, "We sit together now", as a
symbolism of his power over her. This could also insinuate how they both were
overwhelmed by love, which leads them to commit evil deeds.
In "Wuthering Heights" destructive love is presented through the physical separation of
Catherine and Heathcliff, which incites a lot of misfortune. Catherine's demise begins
when she catches the illness which started the night Heathcliff fled. The personification
of prophetic fallacy such as "Growling Thunder" and "Violent Winds", reflects their wild
nature, whilst expressing the anguish felt by the characters, as their love was broken
apart. It could also help foreshadow the darkness that was to follow. Bronte’s use of
descriptive language "one or the other split a tree off" perhaps symbolises how the
conflict of Catherine's and Heathcliff’s emotions, has possibly confirmed the division of
their love. With this, Bronte may have suggested that this caused her deterioration into
her ultimate fate, as the illness signified Catherine’s inability to survive without Heathcliff.
In contrast, Edgar’s and Catherine’s love was of a superficial form, constructed through
society's ideal. This could illustrate how society's corrupted influence was the factor
which prevented Catherine her happiness, and consequently caused a lot of sorrow for
all those close to her. Contrastingly, in "The Last Ride Together", Browning explores the
idea of making a moment of unity last, "the instant made eternity", as the narrator dwells
on the significance of the present. This offers a lot of hope and optimism to the narrator,
as he believes he will be content with just the memory of that moment, after it passes.
However, the constant questions such as "ride, ride together, for ever ride?" could
suggest that the narrator isn't quite as fulfilled as he desired. This suggests that
individuals are not happy without being in a loving relationship.
In "The laboratory" Browning explores the ideas of vengefulness through the inconherant
language. The use of parenthesis symbolises the disjointed thoughts in the narrator,
displaying a sense on the character being somewhat unhinged. This emphasise the
narrator's inability to control the jealousy which is driving her immoral actions. The fast
paced rhythm of the verses highlights the narrator’s excitement, which alters towards
impatience when the moment for revenge edges ever closer. Her evil nature is
emphasised when she refers to poisonous materials as "treasures", as there's
insinuation that she's incomplete without them. Browning illustrates the poisonous
materials in luxurious colours, like "Gold oozings" and "Exquisite blue", to show the

4. comfort the narrator is feeing in this environment. This is sandwiched between questions
illustrating the narrator’s fascination by the poison. These connections the narrator
makes towards threatening imagery, illustrates her struggles to deal with the destructive
influence of love.
The use of words such as "smokes", "devils", and "poison" in the first stanza, conveys
dangerous symbolism, introducing us to a darker world. Physical sounds, through
alliterations, such as "Mash...Moist" and "Paste...Pound...Powder" evokes the sense of
power, creating the impression that the narrator is control of the situation.
In "Wuthering Heights", the representation of the two houses reflect the unclear
boundaries between opposing forces in society, imitating the struggle individual's face
between nature and nurture. The description of Wuthering Heights, "Lurking",
"Defended", "Villanous", "Haunting", portrays the house as a stormy, brutal and
unwelcoming place. This could convey the wild nature of Catherine's and Heathcliff's
character, that was formed in this hostile environment, encouraging the ungoverned
passion which dictated their love. Contrastingly, these semantics are amidst
characteristics illustrating a sense of comfort, homeliness, and simplicity, narrated
through words like "Primitive", "Heat", and "Light". These descriptive undertones suggest
Catherine's and Heathcliff's relationship would've thrived in this setting, providing them
with all their needs, On the other hand, Thrustcross Grange is presented as a civilised,
luxurious and colourful place. However these descriptions are amongst notions such as
"Shrieking", "Weeping" and "Shaking", alluding to the way in which a lot of pain and
sorrow stems from that house. Thrustcross Grange could symbolise the more
conventional society and it's ideals, which prohibited Catherine's happiness, as she
ventured towards life at the grange. However, her daughter Cathy, yearned to return to
Wuthering Heights re-adressing the balance by reaching towards her natural habitat.
Furthermore, the two houses mirror the dichotomies of two families, who become
intetwined through Hareton's and Cathy's marriage. This shows how a bit of both nature
and nurture is what allows love to prevail in society.
http://academyenglish13b.blogspot.co.uk/2010/10/lesson-on-oppositions-in-
wuthering.html
Shakespeare's portrayal of Desdemona's rebellious behaviour, led to the
aggravation of Othello's jealousy, as she became a threat to his male
authority. Desdemona demonstrated her independence by going against
her father wished in marrying Othello, illustrating her strength in being able
to break away from the barriers of gender identity. She further ventured
away from society's norms, by marrying a moor, displaying level of
inetlligence, but also a determination to become liberated. However, what
first seemed impressive to Othello, soon became a planted seed of doubt
as her father Brabantio states "She decieved her father, and may thee".

5. With the insecurities Othello already has through racial discrimination, he
feels the need to impose his male identity to maintain power. This allows
Iago's manipulation of Othello to flourish, as anything which challenges it,
escalates his paranoia. In the patriachal society which Desdemona
inhabited, there was an inability to comprehend the power Desdemona
gained by rebelling against the social norms and values. This made her
death inevitable. In comparison, Browning explores similar issues in
"Porphyria's Lover", as Porphyria's sense of self-control worked against
her. By taking charge of her own destiny, Porphyria's "lover" felt the need
to regain power, in attempt to restore male authority.
In conclusion, all three writers illustrate the result of society's callous
interruptions and manipulation of the chacarcters's lives, as it forms
constraints to their true identity.
In certain poems, Browning explores the intimacies of love, and the inner
word of the two individuals of the relationship. This is different from the
coventions of 19th century literature, but could potentially be due to him
being disilliusioned with the changes taking place in society. Browning
uses temporality to illustrate the character's uncertainty about the concept
eternal love. In "Love Amongst the Ruin", there's early insinuations that the
narrator is coming towards the end of his life, "Quiet-coloured end of
evening smiles", "Half-asleep", "Twighlight", amidst a calm environment,
as he reflects on his love. The description of the future is conveyed in
hopelessness, as it"does not even boast a tree" from it's glorious past,
which consisted of beautiful natural landscapes like "mountains topped
with temples". Browning uses justapositions of notions such as the
present and past, "Solitary Pasture... City great and gay", possibly to
highlight confusion he is experiencing as his love is appearing to
deteriorate. However, by the end of the poem, the narrator was content with
having sacrificed his life for love, since "Love is best", overriding all other
"Triumphs" and Glories". Similarly, in "The Last Ride Together", the
narrator is willing to give up his life "to all my love avails". All he stood for,
was worth "nothing", without love. His utmost desire is for love to become
the "instant made eternity". However, the poem ends in a question in "Ride,
ride together, for ever ride?", insinuating how the narrator cannot be sure
this is the case. Here, the narrator is left with an inner conflict, whilst the
narrator in "Love amongst the ruins" ends with peace.