Wuthering Heights by Emily Bronte
Much meaning that was not overtly written into Emily Bronte's Wuthering Heights can be discovered by using Freudian interpretation. This meaning was not consciously intended by Bronte, but can be very interesting and helpful in finding significance in the book. Freud used dream analysis, symbolism, and psychoanalytical techniques to find meaning that was not apparent in his patients the other subjects of his analysis.
In his book, Darwin's Worms, Adam Phillip says that Freud was "involved in taking God out of the picture, leaving nothing between us and nature" (Phillip 1). This statement directly correlates with the story and the characters of Wuthering Heights. One of the main themes of the book is that of natural, instinctual desires. The passion between Catherine I and Heathcliff has been called "semi-savage" (Jerrold 302) because of the rawness and naturalness of it. Heathcliff himself is also very close to nature. He is unrefined and acts solely on instincts and desires. Although there are many religious references in the book, God is not portrayed as a being with sole control over the lives of the characters. Nature plays much more of a controlling factor than God in the story. Natural instincts, as well as physical nature itself drove the lives of the characters of Wuthering Heights. They acted on passions and desires and were affected by the external world around them. For example, when Lockwood fell ill, it was not a work of God, but a direct consequence of nature.
Dreams play a large role in the story of Wuthering Heights. During Lockwood's first visit to the Heights, he has a night full of dreams and nightmares. Each one related to what Heathcliff had just read on the windowsil...
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...ey are wild and vicious. They seem to create a comparison to Heathcliff in the way that both the dogs and Heathcliff go after what they want without a thought of who they are hurting in the process. Heathcliff's feelings for Catherine are so raw and instinctual that they could be considered animal-like.
Freud developed many different psychological theories that can relate to the story of Wuthering Heights by interpreting the dreams of Lockwood, as well as explaining some behavior of the characters. Heathcliff's behavior, for example, makes more sense when described by defense mechanisms and the three parts of the mind than it does when it is looked at without Freudian theories. Had Sigmund Freud had the chance to sit Heathcliff down on his couch, he would have been able to explain much of Heathciff's behavior in ways that Emily Bronte could never have imagined.
This idea continues on the 7th page of the book: "Guests are so exceedingly rare in this house that I and my dog”, where it is said that Wuthering Heights does not welcome a lot of guests, which is another implicit description of Heathcliff that is not accustomed to human contacts. In addition, with this, the link of the motif of the dog and Heathcliff appears finally at the 41th page in the chapter 4, off, dog!" cried Hindley. Here, contrarily to the other examples, Heathcliff is directly compared to a dog through Hindley’s insult. This insult is justified by the fact that Heathcliff was thought being a usurper of Hindley’s parent’s affection and his privileges. In order to have his revenge, after his father’s death, Hindley will take control of Wuthering Heights and treat Heathcliff like a dog. Furthermore, the
In Wuthering Heights, Heathcliff and Catherine shared one dream, dream of being with each other. Heathcliff suffers much emotional rejection, but at no point does he falter ...
Definitive criteria for judging the success or failure of a work of fiction are not easily agreed upon; individuals almost necessarily introduce bias into any such attempt. Only those who affect an exorbitantly refined artistic taste, however, would deny the importance of poignancy in literary pieces. To be sure, writings of dubious and fleeting merit frequently enchant the public, but there is too the occasional author who garners widespread acclaim and whose works remain deeply affecting despite the passage of time. The continued eminence of the fiction of Emily Bronte attests to her placement into such a category of authors: it is a recognition of her propensity to create poignant and, indeed, successful literature.
Cathy and Heathcliff's separation only therefore ensues as a result of their initial outing to Thrushcross Grange. Their promise to grow up together as 'rude as savages,' is destroyed when Cathy and Heathcliff are separated physically by many factors resulting from this visitation. Just as the Linton's dog 'holds' Cathy, so too is the Linton's house symbolically presented as separating her from Heathcliff, when Heathcliff resorts to peering in through their 'great glass panes' to see Cathy, after being physically 'dragged' out of Thrushcross Grange.
...ctive. Catherine is pushed to death and Heathcliff to brutal revenge, bordering on the psychotic. Yet before Cathy’s death, the knowledge that the other loves them is strong enough to make Wuthering Heights such a classic love story, and “that old man by the kitchen fire affirming he has seen two of 'em looking out of his chamber window, on every rainy night since his death,” shows that as they walk together on the moors, their self destruction may have led them to death, but also to what they most desired-being together.
As their love grows from childhood to adulthood, the dynamics and forces behind it are turned jealous, spiteful, vengeful, and toxic, causing the reader to examine the difference between true love and transactional love. Wuthering Heights is not a romance novel, but rather a continual, passionate battle between societal forces and true love gone sour as it treads between the lines of obsession and compassion. In the opening of Wuthering Heights, Catherine asks her father, who is out on a business trip to bring her back a whip. However, Earnshaw returns with an orphaned Heathcliff.
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.
Wuthering Heights is a novel which deviates from the standard of Victorian literature. The novels of the Victorian Era were often works of social criticism. They generally had a moral purpose and promoted ideals of love and brotherhood. Wuthering Heights is more of a Victorian Gothic novel; it contains passion, violence, and supernatural elements (Mitchell 119). The world of Wuthering Heights seems to be a world without morals. In Wuthering Heights, Brontë does not idealize love; she presents it realistically, with all its faults and merits. She shows that love is a powerful force which can be destructive or redemptive. Heathcliff has an all-consuming passion for Catherine. When she chooses to marry Edgar, his spurned love turns into a destructive force, motivating him to enact revenge and wreak misery. The power of Heathcliff’s destructive love is conquered by the influence of another kind of love. Young Cathy’s love for Hareton is a redemptive force. It is her love that brings an end to the reign of Heathcliff.
(4) Wuthering Heights’s mood is melancholy and tumultuous. As a result, the book gives off a feeling of sorrow and chaos. For example, Catherine’s marriage with Edgar Linton made Heathcliff jealous and angry. In retaliation, Heathcliff married Edgar’s sister, Isabella, to provoke Catherine and Edgar. Heathcliff and Isabella’s marriage ignited a chaotic uproar with Edgar and Catherine because Linton disapproved of Heathcliff’s character, and Catherine loved Heathcliff in spite of being married to Edgar. Inside, Catherine wanted to selfishly keep Heathcliff to herself. Their relationships all had tragic endings because Catherine died giving birth to Edgar’s child. Isabella also died, leaving behind her young son. Heathcliff and Edgar resented each other because of misery they experienced together. The transition of the mood in the story is from chaotic to somber.
To sum up, Emily Brontë’s Wuthering Heights is a classic that portrays a love, even though confined by social classes, trespasses boundaries of life and death. The Gothic elements incorporated in this novel such as extreme landscape and weather, supernatural events and death brings about a mysterious and gloomy atmosphere suitable for a revenge plot with heightened emotions.
Heathcliff is characterized “as dark almost as if it [Heathcliff] came from the devil.” (45) Throughout Wuthering Heights, Heathcliff is treated poorly and is mainly a product of a troubled childhood. This man then manifests into a person that is hardly capable of holding back his impetuous actions, and, therefore, exemplifies the capacity of the most powerful emotions. Although he may not be the ideal protagonist, it is ultimately not his fault and in the end is defined by the events in the story. Due to the extreme emotional and physical pain endured throughout his life, Heathcliff exhibits the strongest love and hate towards others through passion and revenge.
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.
The ghost of Cathy is not a true spirit, for Lockwood in order to release himself, pulls Cathy's wrist down onto the broken glass causing blood to flow (negative imagery which creates a dark atmosphere),Lockwood's interaction with Catherine's spirit moves him from being an outside observer to an active participant in the plot. The ghost of Catherine acts as a symbol in chapter 3; other symbols in the novel are 'the moors' which of course resemble 'Heathcliff'. One of the most obvious things that some might notice when analysing 'Wuthering Heights' is that the dark descriptive language is used to create or darken the tone and atmosphere of the book, an example is during Lockwood's dream when the preacher shouts out, "Drag him down and crush him to atoms", that quote is no doubt negative and reflects the moods of the characters, such as Heathcliff. Furtherly a quote which shows negative and gothic imagery is when Lockwood describes cutting Catherine on the glass, he says, "I pulled its wrist on to the
In conclusion, Bronte uses the supernatural and ghosts in Wuthering Heights to emphasise the power of love between Cathy and Heathcliff and proving that love exists beyond the grave and that the quality of love is unending. Furthermore, ghosts are used to assist in the storytelling, to help in enhancing the setting and develop characterisation, particularly in the character of Heathcliff, Nelly and Lockwood. The use of the supernatural enables the reader to be intrigued by the confusing use of extraordinary beings.