A multitude of feelings and sentiments can move a man to action, but in Emily Brontë’s Wuthering Heights, love and revenge are the only two passions powerful enough to compel the primary actors. There is consensus, in the academic community,1 that the primary antagonist in the novel, Heathcliff is largely motivated by a wanton lust for vengeance, and it is obvious from even a cursory reading that Edgar Linton, one of the protagonists, is mostly compelled by a his seemingly endless love for his wife, and it even seems as if this is reflected in the very nature of the characters themselves. For example, Heathcliff is described as “Black-eye[d]” [Brontë,1], “Dark skinned” [Brontë, 3] and a “dirty boy” [Brontë, 32]; obviously, black has sinister connotations, and darkness or uncleanliness in relation to the soul is a common metaphor for evil. On the converse, Edgar Linton is described as blue eyed with a perfect forehead [Brontë, 34] and “soft featured… [with] a figure almost too graceful” [Brontë, 40], which has almost angelic connotations. When these features and the actions of their possessors are taken into account, it becomes clear that Edgar and Heathcliff are not merely motivated by love and revenge as most academics suggest, but rather these two men were intended by Brontë to be love and hate incarnate.
There can be no question as to the motivations of Heathcliff for the vast majority of the book, as he is quite clearly obsessed with revenge (Which is nothing unusual in Wuthering Heights2) , be it against his adopted sister Catherine Linton (for denying him her love), his adopted brother Hindley Earnshaw (for years of abuse), his archrival and, to an extent, foil Edgar Linton (for marrying the woman he loved), or the child...
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2. Cross, Wilbur L. "On Wuthering Heights." Bloom's Literature. Facts On File, Inc. Web. 6 Dec. 2013 .
3. Manser, Martin H., David Barratt, Pieter J. Lalleman, and Julius Steinberg. "angels in the Bible." Bloom's Literature. Facts On File, Inc. Web. 6 Dec. 2013
4. Gilbert, Sandra M., and Susan Gubar. "Wuthering Heights and Milton's Satan."Bloom's Literature. Facts On File, Inc. Web. 6 Dec. 2013 .
5. Brontë, Emily. Wuthering Heights. N.p.: Project Gutenberg, 2007. Print. Transcribed from the 1910 John Murray edition by David Price
In his renowned book of philosophy, The Leviathan, Hobbes described that “perpetual and restless desire for power” is a fundamental quality shared by all humans. He also points out that desire is another important aspect of human nature, since it provides motivation for us to strive to reach our individual needs regardless of the possible outcomes of our actions. These two themes are insightfully explored in Susan Jaret McKinstry’s “Desire’s Dreams: Power and Passion in Wuthering Heights”, in which she shows the important role that power and desire play in Emily Brontë’s Wuthering Heights. From the desire, passion and the ambition for power being displayed in a relatively closed environment such as the isolated manors, it is clear that Brontë’s view of human nature is that humans will do whatever is necessary in their contest for individual power and fulfillment of desires.
In the novel Wuthering Heights, author Emily Brontë portrays the morally ambiguous character of Heathcliff through his neglected upbringing, cruel motives, and vengeful actions.
Heathcliff is a character who was abused in his childhood by Catherine’s brother, Hindley, because of his heritage as a “gypsy”, and Hindley was jealous of the love that Heathcliff got from Mr. Earnshaw, Hindley’s father. This is also selfishness upon Hindley’s part since he only wanted his father’s love for his sister and himself. So to reprimand Heathcl...
Bronte, Charlotte. Jane Eyre. 3rd ed. New York: The Modern Library. Bronte, Charlotte. "
The presentation of childhood is a theme that runs through two generations with the novel beginning to reveal the childhood of Catherine and Hindley Earnshaw, and with the arrival of the young Liverpudlian orphan, Heathcliff. In chapter four, Brontë presents Heathcliff’s bulling and abuse at the hands of Hindley as he grows increasingly jealous of Heathcliff for Mr. Earnshaw, his father, has favoured Heathcliff over his own son, “my arm, which is black to the shoulder” the pejorative modifier ‘black’ portrays dark and gothic associations but also shows the extent of the abuse that Heathcliff as a child suffered from his adopted brother. It is this abuse in childhood that shapes Heathcliff’s attitudes towards Hindley and his sadistic nature, as seen in chapter 17, “in rousing his rage a pitch above his malignity” there is hyperbole and melodrama as the cruelty that stemmed from his abuse in childhood has been passed onto Isabella in adulthood.
Laban, Lawrence F. “Emily Brontë.” Critical Survey of Long Fiction, Second Revised Edition. Salem Press. MagillOnAuthors. 2002. 12 Nov. 2002
Brontë, Emily. Wuthering Heights. 1847. Ed. Richard J. Dunn. 4th ed. New York: Norton, 2003.
Web. 8 Dec. 2010. . Mitchell, Hayley R., ed. Readings on Wuthering Heights.
Emily Brontë’s Wuthering Heights is the story of Heathcliff, an orphan found on the streets and adopted by the Earnshaws – an upper class family. Once his adoptive father died, he was treated more like a servant and his life was made miserable by his jealous “brother” Hindley. The woman he loved, Catherine Earnshaw, chose to marry another man, Edgar Linton, and Heathcliff spent the remainder of his days attempting to ruin the lives of those around him in order to gain revenge for his youthful mistreatment. Brontë, publishing her novel in 1847, crafted a classic piece of gothic literature where she writes about the uncanny embodiments of werewolves and vampires. Popularized during the Victorian era, gothic novels contained elements of the supernatural
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.
Phillips, James. "The Two Faces Of Love In Wuthering Heights." Bronte Studies 32.2 (2007): 96-105. Academic Search Complete. Web. 13 Feb. 2014.
His strong, merciless hate towards others is a result of the events that occurred in his childhood. “I’m trying to settle how I shall pay Hindley back.I don’t care how long I wait, if I could only do it at last. I hope he will not die before I do!” (69) Because of all the torturous things Hindley did to Heathcliff back when they were children, “Hindley had blamed our father for treating Heathcliff too liberally; and swears he will reduce him to the right place,” (30) he hopes Hindley will not die before him just so he can carry out his revenge-driven plan. He is shaped by what has happened in his life previously which then causes meticulous actions that signify his intense hate towards everyone at Wuthering Heights. Although it is essentially not his own fault, some argue that there is no excuse for Heathcliff to act vindictively. In contrast, though, the psychological problems that he experienced have hand-crafted Heathcliff into the person he is. “It expressed, plainer than words could do, the intensest anguish at having made himself the instrument of thwarting his own revenge.” (58) This only adds to the complete and serious hatred he has for everyone that even saving his nephew from falling from the balcony was a thwart to his own revenge. The audience can conclude based on the characterization of Heathcliff as malicious that he is only focused on
Emily Bronte’s novel, Wuthering Heights, is filled with many controversial psychological conflicts. The main psychological dispute in the novel is whether Heathcliff’s wicked nature was formed from birth (nature) or whether it was created from the environment that he grew up in and all of the abuse that he suffered at the hands of Hindley (nurture). Everyone is born innocent. It is their environment and their actions that cause them to truly be evil. The same can be said about Heathcliff. His corrupted character was because of his surroundings and experiences, not because he was born evil. Heathcliff was an orphan, growing up in a household in which no one enjoyed his presence. The background in which he grew up in was not the ideal household. Heathcliff’s dark character can also be explained through psychological references such as Sigmund Freud’s id, ego, and superego. Being that he is the id, Heathcliff’s personality represents the most basic desires of a human.
‘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...
Bronte's Use of Language and Setting in Wuthering Heights Between pages 15 and 18 there are identifiable ways in which 'Bronte' uses 'language and setting' to establish the characters and create a distinguishable atmosphere. In this essay, themes, genres and styles will be discussed to show how 'Bronte' establishes the characters; there will also be a discussion of the 'gothic' elements which Wuthering Heights contains. Many people would argue that the style of 'Wuthering Heights' is peculiar and complex, the power of Wuthering Heights owes much to its complex narrative structure and to the device of having two conventional people relate a very unconventional tale. Bronte importantly introduces the element of 'the supernatural' into chapter 3 which is an important technique as it grips the reader. Lockwood has come into contact with the ghost of Cathy, who died 18 years before, Some might argue that she is a product of Lockwood's imagination, and it is clear that Bronte has presented these facts in this way so that the reader can make up their own mind on the subject.