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Characters analysis in Emily Bronte's Wuthering Heights
Characters analysis in Emily Bronte's Wuthering Heights
Themes and Narrative techniques in Wuthering heights
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Emily Brontë’s Wuthering Heights is deemed a complex novel, with its wide ranging themes of love, betrayal, suffering and imprisonment. It contains all the elements of a Gothic novel in nature but with the added ingredient of realism, but it is not just this blending of Gothic with realism that makes the novel so multifaceted, it is also Brontë’s use of multiple narrators that adds to the complexities of this novel. And it is the resulting effect of the different narrative voices in Wuthering Heights that this essay seeks to discuss.
There are two distinct narrative voices in Wuthering Heights, that of Mr Lockwood and Nelly Dean, but within the novel we also encounter tertiary narratives from Catherine Earnshaw, Isabella and Zillah. The opening narrative of the novel begins with Lockwood who is the primary narrator and author of the story and it is Lockwood’s narrative that provides the outer frame for the story as he introduces the reader to Heathcliff and the inhabitants at the Heights.
During Lockwood’s visit to the Heights he uncovers the diary of Catherine Earnshaw scribbled within several volumes of mildewed books. His reading of the diary temporarily transports the reader back in time and into the first tertiary narrative of Catherine Earnshaw before Lockwood reinstates himself as the narrator and propels us back to the present. His visit is also the catalyst that drives him to question his servant Nelly Dean regarding his poorly received reception from his hosts at the Heights. It is at this point we are introduced to the second and most prominent narrator Nelly Dean, who begins by taking us back some twenty years to the beginning of her story. As with Lockwood, it is within Nelly’s narrative that we are introduced to t...
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...domestic life, as Da Souse Correa explains, ‘The brutal truths which Wuthering Heights presents include the realities of domestic life, social exclusion and economic dispossession’ (Correa, 2012, pg.373).
Our final narrator in the novel is supplied through a recalled conversation between Nelly and the servant Zillah.
Works Cited
Da Sousa Correa, D. (2012) ‘Emily Brontë, Wuthering Heights: at home’ in Watson, N. and Towheed, S. (eds) Romantics and Victorians, London, Bloomsbury Academic/Milton Keynes, The Open University, pp. 350-375.
Da Sousa Correa, D. (2012) ‘Emily Brontë, Wuthering Heights: abroad’ in Watson, N. and Towheed, S. (eds) Romantics and Victorians, London, Bloomsbury Academic/Milton Keynes, The Open University, pp. 378-407.
Brontë, E. (2009 [1847]) Wuthering Heights (ed. I. Jack, with an introduction by H Small), Oxford, Oxford University Press.
Laban, Lawrence F. “Emily Brontë.” Critical Survey of Long Fiction, Second Revised Edition. Salem Press. MagillOnAuthors. 2002. 12 Nov. 2002
Varghese, Dr. Lata Marina. "Stylistic Analysis of Emily Brontë’s Wuthering Heights." IOSR Journal of Humanities and Social Science 2.5 (2012): 46-50. Print.
Emily Bronte’s Wuthering Heights is a novel about lives that cross paths and are intertwined with one another. Healthcliff, an orphan, is taken in by Mr. Earnshaw, the owner of Wuthering Heights. Mr. Earnshaw has two children named Catherine and Hindley. Jealousy between Hindley and Healthcliff was always a problem. Catherine loves Healthcliff, but Hindley hates the stranger for stealing his fathers affection away. Catherine meets Edgar Linton, a young gentleman who lives at Thrushcross Grange. Despite being in love with Healthcliff she marries Edgar elevating her social standing. The characters in this novel are commingled in their relationships with Wuthering Heights and Thrushcross Grange.
Seichepine, Marielle. "Childhood And Innocence In Wuthering Heights." Bronte Studies 29.3 (2004): 209-215. Academic Search Complete. Web. 13 Feb. 2014.
Narratology divides a ‘narrative into story and narration’. (Cohan et al., 1988, p. 53) The three main figures that contribute a considerable amount of research to this theory are Gerard Genette, Aristotle and Vladimir Propp. This essay will focus on how Emily Bronte’s novel Wuthering Heights can be fully appreciated and understood when the theory is applied to the text. Firstly, I will focus on the components of narration Genette identifies that enhance a reader’s experience of the text. Secondly, I will discuss the three key elements in a plot that Aristotle recognises and apply these to Heathcliff’s character. In the final section I will apply part of the seven ‘spheres of action’, Propp categorises, to Heathcliff’s character. However, not all of Narratology can be applied to a text. This raises the question; does this hinder a readers understanding and/or appreciation of the text? This paper will also address this issue.
Wuthering Heights, written by Emily Bronte, has 323 pages. The genre of Wuthering Heights is realistic fiction, and it is a romantic novel. The book is available in the school library, but it was bought at Barnes and Nobles. The author’s purpose of writing Wuthering Heights is to describe a twisted and dark romance story. Thus, the author conveys the theme of one of life’s absolute truths: love is pain. In addition, the mood of the book is melancholy and tumultuous. Lastly, the single most important incident of the book is when Heathcliff arrives to Edgar Linton’s residence in the Granges unannounced to see Catherine’s state of health. Heathcliff’s single visit overwhelmed Catherine to the point of death.
First, Wuthering Heights is a contribution to the theme of the novel because it sets the mood for the scenes taken place inside the house. The house is first introduced to the reader during a storm. The house stands alone and the land around it is described as dreary and foreboding, which creates a mood of isolation. “On the bleak Yorkshire moors” describes the Yorkshire moors physical appearance. The estate has little vegetation and is more weathered, which moors are, as they are jutting, bare rocks towards the ocean. Wuthering Heights is an old stone house with gothic architecture and bleak interior. The people that live in Wuthering Heights are bitter and act violent. The characters of the story act wild when they are at Wuthering Heights, compared to other places in the novel. The setting of the house enforces the actions of the Earnshaws’, and Heathcliff. The name of the estate even sets a theme of gloom in the novel. Lockwood says Wuthering is, “a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather” (12).
‘Wuthering Heights’, although having survived the test of time as a work that is poignant and passionate, and eminently capable of holding the reader’s attention, received mixed criticism upon publication in 1847 under the pseudonym Ellis Bell. Apparently, the vivid description of mental and physical violence and agony was hard to stomach, and the atmosphere was too oppressive to merit popular liking. But many later readers and critics have given ‘Wuthering Heights’ the mantle of being the best of the works of the Bronte sisters, displacing Charlotte’s ‘Jane Eyre’. One of its prime merits, at least to my eyes, lies in Emily’s ability to make Nature an eloquent party to the story-corresponding closely with a character’s emotions, with the incidents, with the movement of the plot, and thus adding to the quality of the story. Emily was born in Thornton, Yorkshire, and her love for the landscape that she grew up with is reflected in the novel in the moors and the crags, the storms and the spring. One can see an extension of this one-ness with nature, this unity, in her choice of Wuthering Hei...
Brontë, Emily. Wuthering Heights. 1847. Ed. Richard J. Dunn. 4th ed. New York: Norton, 2003.
Mathison, John K. "Nelly Dean and the Power of "Wuthering Heights"." Nineteenth-century Literature. 11.2 (1956). Print.
In Wuthering Heights by Emily Bronte, the Earnshaws, a middle class family, live at the estate, Wuthering Heights. When Mr. Earnshaw takes a trip to Liverpool, he returns with an orphan whom he christens “Heathcliff”. During their formative years, Catherine, Mr. Earnshaw’s daughter, plays with Heathcliff on the moors and becomes close with him. As a result, they form a special bond and Heathcliff and Catherine fall in love, unlike Hindley, Mr. Earnshaw’s son, who does not get along with Heathcliff. While Heathcliff benefits from his relationships, his connections are disadvantaged in terms of status, reputation, financial stability, and happiness.
Wuthering Heights is not just a love story, it is a window into the human soul, where one sees the loss, suffering, self discovery, and triumph of the characters in this novel. Both the Image of the Book by Robert McKibben, and Control of Sympathy in Wuthering Heights by John Hagan, strive to prove that neither Catherine nor Heathcliff are to blame for their wrong doings. Catherine and Heathcliff’s passionate nature, intolerable frustration, and overwhelming loss have ruined them, and thus stripped them of their humanities.
Charlotte Bronte assumed the role of intermediary between her late sister and the perplexed and hostile readers of Wuthering Heights (Sale and Dunn, WH p. 267). Charlotte attempted to provide Emily’s readers with a more complete perspective of her sister and her works. She selectively included biographical information and critical commentary into the revised 1850 edition of Wuthering Heights, which gave the reader a fuller appreciation of the works of Emily Bronte. Charlotte championed the efforts of her younger sister and believed that Emily’s inexperience and unpracticed hand were her only shortcomings. Charlotte explains much of Emily’s character to the readers through the disclosure of biographical information.
Emily Bronte's master piece, Wuthering Heights, is a timeless story of love, deception, betrayal and revenge. It recognizes that life in the world is not a utopia. Revenge is the main theme in the book because it highlights important events, personality flaws, and the path to self-destruction. Bronte presents this loud and clear.
Not only did the sisters’ literary relation is revealed in the many core artistic interests they shared, their literary synergy could be displayed also in their reactions to and critiques of each others’ works. An argument that has been affirmed by Edward Chitham in his book A Life of Anne Bronte, when he writes: “Anne‘s artistic and moral challenge to the content of her sisters’ novels comes in Wildfell Hall. Until this is recognized, readers may see the book as a pale version of Wuthering Heights, when it is in some aspects a critique of it” (Chitham: 134).