Notable as important nineteenth-century novels by women, Mary Shelley’s Frankenstein and Emily Bronte’s Wuthering Heights treat women very differently. Shelley produced a “masculine” text in which the fates of subordinate female characters seem entirely dependent on the actions of male heroes or anti-heroes. Bronte produced a more realistic narrative, portraying a world where men battle for the favors of apparently high-spirited, independent women. Nevertheless, these two novels are alike in several crucial ways. Many readers are convinced that the compelling mysteries of each plot conceal elaborate structures of allusion and fierce, though shadowy, moral ambitions that seem to indicate metaphysical intentions, though efforts by critics to articulate these intentions have generated much controversy. Both novelists use a storytelling method that emphasizes ironic disjunctions between different perspectives on the same events as well as ironic tensions that are inherent in the relationship between surface drama and concealed authorial intention, a method I call an evidentiary narrative technique.
Notable as important nineteenth-century novels by women, Mary Shelley’s Frankenstein and Emily Bronte’s Wuthering Heights treat women very differently. Shelley produced a “masculine” text in which the fates of subordinate female characters seem entirely dependent on the actions of male heroes or anti-heroes. Bronte produced a more realistic narrative, portraying a world where men battle for the favors of apparently high-spirited, independent women. Nevertheless, these two novels are alike in several crucial ways. Many readers are convinced that the compelling mysteries of each plot conceal elaborate structures of allusion and fierce, though shadowy, moral ambitions that seem to indicate metaphysical intentions, though efforts by critics to articulate these intentions have generated much controversy. Both novelists use a storytelling method that emphasizes ironic disjunctions between different perspectives on the same events as well as ironic tensions that are inherent in the relationship between surface drama and concealed authorial intention, a method I call an evidentiary narrative technique.
The correct option is C The two novels are different in their treatment of women but also similar in many ways.
The passage states that the two novels differed in their treatment of women but nevertheless, the two novels were alike in crucial ways. Thus, option C is the correct theme for the passage.
Options A and B pertain only to parts of the passage. They are not the crux of the passage.
Option D omits to mention the similarities between the two novels.
Hence, the correct answer is option C.
The passage states that the two novels differed in their treatment of women but nevertheless, the two novels were alike in crucial ways. Thus, option C is the correct theme for the passage.
Options A and B pertain only to parts of the passage. They are not the crux of the passage.
Option D omits to mention the similarities between the two novels.
Hence, the correct answer is option C.
