Novels about revenge

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"Is it that by its indefiniteness it shadows forth the heartless voids and immensities of the universe, and thus stabs us from behind with the thought of annihilation, when beholding the white depths of the milky way? Or is it, that as in essence whiteness is not so much a color as the visible absence of color; and at the same time the concrete of all colors; is it for these reasons that there is such a dumb blankness, full of meaning, in a wide landscape of snows—a colorless, all-color of atheism from which we shrink? And when we consider that other theory of the natural philosophers, that all other earthly hues—every stately or lovely emblazoning—the sweet tinges of sunset skies and woods; yea, and the gilded velvets of butterflies, and the butterfly cheeks of young girls; all these are but subtile deceits, not actually inherent in substances, but only laid on from without; so that all deified Nature absolutely paints like the harlot, whose allurements cover nothing but the charnel-house within; and when we proceed further, and consider that the mystical cosmetic which produces every one of her hues, the great principle of light, for ever remains white or colorless in itself, and if operating without medium upon matter, would touch all objects, even tulips and roses, with its own blank tinge—pondering all this, the palsied universe lies before us a leper; and like wilful travellers in Lapland, who refuse to wear colored and coloring glasses upon their eyes, so the wretched infidel gazes himself blind at the monumental white shroud that wraps all the prospect around him. And of all these things the Albino whale was the symbol. Wonder ye then at the fiery hunt?"

- Moby-Dick

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"While I listened to the instructions which Felix bestowed upon the Arabian, the strange system of human society was explained to me. I heard of the division of property, of immense wealth and squalid poverty, of rank, descent, and noble blood. The words induced me to turn towards myself. I learned that the possessions most esteemed by your fellow creatures were high and unsullied descent united with riches. A man might be respected with only one of these advantages, but without either he was considered, except in very rare instances, as a vagabond and a slave, doomed to waste his powers for the profits of the chosen few! And what was I? Of my creation and creator I was absolutely ignorant, but I knew that I possessed no money, no friends, no kind of property. I was, besides, endued with a figure hideously deformed and loathsome; I was not even of the same nature as man. I was more agile than they and could subsist upon coarser diet; I bore the extremes of heat and cold with less injury to my frame; my stature far exceeded theirs. When I looked around I saw and heard of none like me. Was I, then, a monster, a blot upon the earth, from which all men fled and whom all men disowned? I cannot describe to you the agony that these reflections inflicted upon me; I tried to dispel them, but sorrow only increased with knowledge. Oh, that I had forever remained in my native wood, nor known nor felt beyond the sensations of hunger, thirst, and heat!"

- Frankenstein (novel)

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"As I sat, a train of reflection occurred to me which led me to consider the effects of what I was now doing. Three years before, I was engaged in the same manner and had created a fiend whose unparalleled barbarity had desolated my heart and filled it forever with the bitterest remorse. I was now about to form another being of whose dispositions I was alike ignorant; she might become ten thousand times more malignant than her mate and delight, for its own sake, in murder and wretchedness. He had sworn to quit the neighbourhood of man and hide himself in deserts, but she had not; and she, who in all probability was to become a thinking and reasoning animal, might refuse to comply with a compact made before her creation. They might even hate each other; the creature who already lived loathed his own deformity, and might he not conceive a greater abhorrence for it when it came before his eyes in the female form? She also might turn with disgust from him to the superior beauty of man; she might quit him, and he be again alone, exasperated by the fresh provocation of being deserted by one of his own species. Even if they were to leave Europe and inhabit the deserts of the new world, yet one of the first results of those sympathies for which the daemon thirsted would be children, and a race of devils would be propagated upon the earth who might make the very existence of the species of man a condition precarious and full of terror. Had I right, for my own benefit, to inflict this curse upon everlasting generations? I had before been moved by the sophisms of the being I had created; I had been struck senseless by his fiendish threats; but now, for the first time, the wickedness of my promise burst upon me; I shuddered to think that future ages might curse me as their pest, whose selfishness had not hesitated to buy its own peace at the price, perhaps, of the existence of the whole human race."

- Frankenstein (novel)

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"Wuthering Heights is a more difficult book to understand than Jane Eyre, because Emily was a greater poet than Charlotte. When Charlotte wrote she said with eloquence and splendour and passion “I love”, “I hate”, “I suffer”. Her experience, though more intense, is on a level with our own. But there is no “I” in Wuthering Heights. There are no governesses. There are no employers. There is love, but it is not the love of men and women. Emily was inspired by some more general conception. The impulse which urged her to create was not her own suffering or her own injuries. She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book. That gigantic ambition is to be felt throughout the novel — a struggle, half thwarted but of superb conviction, to say something through the mouths of her characters which is not merely “I love” or “I hate”, but “we, the whole human race” and “you, the eternal powers...” the sentence remains unfinished. It is not strange that it should be so; rather it is astonishing that she can make us feel what she had it in her to say at all. It surges up in the half-articulate words of Catherine Earnshaw, “If all else perished and remained, I should still continue to be; and if all else remained and he were annihilated, the universe would turn to a mighty stranger; I should not seem part of it”. It breaks out again in the presence of the dead. “I see a repose that neither earth nor hell can break, and I feel an assurance of the endless and shadowless hereafter — the eternity they have entered — where life is boundless in its duration, and love in its sympathy and joy in its fulness.” It is this suggestion of power underlying the apparitions of human nature and lifting them up into the presence of greatness that gives the book its huge stature among other novels. But it was not enough for Emily Brontë to write a few lyrics, to utter a cry, to express a creed. In her poems she did this once and for all, and her poems will perhaps outlast her novel. But she was novelist as well as poet. She must take upon herself a more laborious and a more ungrateful task. She must face the fact of other existences, grapple with the mechanism of external things, build up, in recognisable shape, farms and houses and report the speeches of men and women who existed independently of herself. And so we reach these summits of emotion not by rant or rhapsody but by hearing a girl sing old songs to herself as she rocks in the branches of a tree; by watching the moor sheep crop the turf; by listening to the soft wind breathing through the grass. The life at the farm with all its absurdities and its improbability is laid open to us. We are given every opportunity of comparing Wuthering Heights with a real farm and Heathcliff with a real man. How, we are allowed to ask, can there be truth or insight or the finer shades of emotion in men and women who so little resemble what we have seen ourselves? But even as we ask it we see in Heathcliff the brother that a sister of genius might have seen; he is impossible we say, but nevertheless no boy in literature has a more vivid existence than his. So it is with the two Catherines; never could women feel as they do or act in their manner, we say. All the same, they are the most lovable women in English fiction. It is as if she could tear up all that we know human beings by, and fill these unrecognisable transparences with such a gust of life that they transcend reality. Hers, then, is the rarest of all powers. She could free life from its dependence on facts; with a few touches indicate the spirit of a face so that it needs no body; by speaking of the moor make the wind blow and the thunder roar."