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Extra resources for Dickens and Romantic Psychology: The Self in Time in Nineteenth-Century Literature
Yet five years later The Haunted Man saw Dickens introducing, as I mentioned in the foreword, even within the seemingly impervious sentimentality of the Christmasstory genre, a sense of the ambivalence of memory's gift, of its capacity to destroy the self as well as to nurture it. Problematic ambiguity similarly pervades Dombey and Son, though in different terms (those of The Haunted Man foreshadow, of all the novels, 42 Dickens and Romantic Psychology Great Expectations). Interestingly, these terms closely match those of De Quincey's adaptation.
The peculiarities of Cathy Earnshaw's circumstances, for example, mean that in her case integrity to childhood and self-realising passion lie on the same side, so to speak, rather than in dialectical opposition. The melting of sociallyacquired identity during her climactic trauma of passion and sickness (which compares with what Tony Tanner notes in Emma Bovary), goes with a regression to childhood that the novel presents (at least in part) as spiritually uplifting. Perhaps this might account for the special respectability amongst AngloSaxon readers that Wuthering Heights has traditionally had might explain, that is, the willingness to interpret the bond of Cathy and Heathcliff in rather mystical terms.
The phrase refers to a culturally-enforced antipathy to the 'soft emotions' that are of primary importance in early childhood (the analyst Harry Guntrip has since substituted the 'taboo on weakness' for Suttie's phrase, in order to stress the relevance of the fear of seeming weak or foolish as well as that of showing tenderness or being sentimentaP5). This involves, in cultures where the taboo operates, the rigid exclusion of such feelings from what is felt to be acceptably adult behaviour, and consequently the drawing of a strict barrier between the adult and the child, marked by abrupt weaning.
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