A horrific, unsettling, mysterious and perversely thrilling image haunts any thoughts I currently have of Wuthering Heights. A ghastly image of a gentleman, moved by terror to cruelty, bloodstained bed-sheets and the ghostly appearance of the face of a child at a window. Coming, as it does, in the opening stages of the novel, this image and remembrance of it, changed the way I read every succeeding word. It is surprising how little critical work I can find on the subject of this scene, being as it is, I think, very much key to the creation of the oft commented upon 'power' in the novel. Camille Paglia dedicates some thought to it in her Sexual Personae. She argues that 'we, as much as Lockwood are raped and lose our innocence here' (Paglia Sexual Personae p. 452), and I must confess I did feel somewhat violated the first time I read these passages as they come suddenly, violently out of the hazy uncertainty of Lockwood's 'Jabes Branderham dream'.
It is easy to see how the events of Lockwood's evening at Wuthering Heights have translated into this first dream. This establishes a comfortable sense of the reader understanding exactly what is afoot. The Jabes dream is often amusing in its absurdity, 'Jabes had a full and attentive congregation, and he preached - good God! What a sermon: divided into four hundred and ninety parts, and each discussing a separate sin!', which further lulls the reader into a false sense of security. The horrific spectre of Catherine Linton comes into sharp focus immediately after this convoluted, unclear dream and the 'little, cold hand' and 'child's face' are so startling because of this shock factor. It is this sense of the 'intense horror of nightmare' created by the appearance of Catherine's ghost and the depiction of the graphic violence perpetrated by Lockwood on a girl child, that pervade the novel from this point on.
The description of Lockwood's actions makes my blood run cold, and is akin to many modern Japanese horror films in its gory and grotesque violence. 'I pulled its wrist on the broken window pane, and rubbed it to and fro till the blood ran down the bed-sheets' p36. It is made particularly chilling, I feel by the fact that this action is so out of character for Lockwood. He is a gentleman, and someone from civilised society. This causes me to wonder whether Emily Bronte wanted to suggest that the very walls of Wuthering Heights have absorbed something of the cruelty of it's history, causing inhabitants to become infected by it's brutal disease.
Martha Nussbaum describes the romantic ascent of various characters in Wuthering Heights through a philosophical Christian view. She begins by describing Catherine as a lost soul searching for heaven, while in reality she longs for the love of Heathcliff. Nussbaum continues by comparing Heathcliff as the opposition of the ascent from which the Linton’s hold sacred within their Christian beliefs. Nussbaum makes use of the notion that the Christian belief in Wuthering Heights is both degenerate and way to exclude social classes.
Nelly Dean’s poor narration to Mr. Lockwood is the housekeeper’s way to justify that she posses no blood on her hands. Her upbringing with the novel’s main characters gives her a poor choice in judgement and makes her extremely biased on how the story is portrayed. Nelly’s actions cause nothing but despair to the Earnshaws and Lintons, pushing the idea that she is the silent villain of Wuthering Heights.
Lockwood, a newly arrived tenant of one of the outer homesteads belonging to Mr. Heathcliff’s estate. In this entry Mr. Lockwood relates how he visited Mr. Heathcliff to introduce himself, and proceeds to describe the demeanor of his new landlord. Mr. Heathcliff and Mr. Lockton are the only two characters of consequence who are developed in this short chapter, though a third, Joseph, is introduced as Mr. Heathcliff’s “elderly, nay . . . very old” servant, and utters only a short statement to express his ornery nature and displeasure at having to look after an unexpected and unwanted guest (E. Brontë
The dual narrator arrangement of Wuthering Heights begins with Mr. Lockwood, the naive new tenant of Thrushcross Grange. He seems to be quite the social person and goes to visit Heathcliff who is not so social and actually seems downright inhospitable. Due to weather conditions at the time (which Lockwood was not wise to go out in) Lockwood becomes stranded at Wuthering Heights where he feels quite unwelcome. While spending the night at Wuthering Heights, the curious Lockwood snoops through some books where he find things inscribed by Catherine. He hears the voice of Catherine calling, and calls for help. Heathcliff then runs after the girl who is not in fact a girl, but Catherine's ghost. Heathcliff embraces this ghost and dies with her in his arms. That pretty much sums up the narrative present and Lockwood's role as narrator. Out of curiosity (Lockwood's most important personality trait), he asks Nelly Dean questions about Heathcliff and the girl. At this point Nelly takes over the role of narrator and we shift into the narrative past.
What makes this part of the novel all the more stirring is the fact that there is evidence that this really was a ghost at Lockwood’s window. For instance Lockwood says that that name of the ghost was ‘Catherine Linton’:
...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.
She then “[flings the key] into the hottest part of the fire, whereupon Mr. Edgar was taken with a nervous trembling… [filled with] mingled anguish and humiliation” (99). The dream symbol come to construct the symbols of the narrative of Wuthering Heights- mixing the real world with the dream. This again creates a sense of mixture and ambiguity that highlights the uncanny. ADD ANOTHER IMPLICATION. When Lockwood enters the church, “the famous Jabes Branderham [preaches] from… “Seventy Times Seven.” When the preacher discusses 490 sins, and moves on to the 491st, Lockwood denounces the preacher as the “sinner of the sin that no Christian need pardon,” only to have the assembly be against
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).
Heathcliff and Catherine have loved each other since their childhood. Initially, Catherine scorned the little gypsy boy; she showed her distaste by “spitting” at him (Brontë 27). However, it was not long before Heathcliff and Catherine became “very think” (Brontë 27). They became very close friends; they were practically brother and sister (Mitchell 122). Heathcliff is intent upon pleasing Catherine. He would “do her bidding in anything” (Brontë 30). He is afraid of “grieving” her (Brontë 40). Heathcliff finds solace and comfort in Catherine’s company. When Catherine is compelled to stay at Thrushcross Grange to recover from her injury, she returns as “a very dignified person” (Brontë 37). Her association with the gente...
...e. On a very simplistic level, it is attractive, the name ‘Wuthering Heights’ sounds to the ear a more mysterious and enigmatic choice than Thrushcross Grange. But it can be assumed that the author had made the choice of naming the novel based on reasons that run deeper than mere attractiveness. The setting is vital to the plot, and as Wuthering Heights and its presence directly or indirectly precipitates a major part of the action, the choice is an apt one. In conclusion,the characters’ relation with Nature runs deep, and this too has been highlighted forcefully by the title, that keeps reminding the reader that in ‘Wuthering Heights’, the setting is the thread that runs through the entire narrative holding it together, and halfway through the novel, we can almost perceptibly feel the throb of Nature that is alive, that is at work, and that has a will of its own.
...he was able to interpret the events of her life, and for the first time tell a visitor of everything that has gone on. Since Nelly’s life was not personally haunted by regrets, like Catherine and Heathcliff’s, she is able to recite the past and present in a clear and rational way. Lockwood believes her story and is so intrigued by all the dreadful events that took place across a lifetime on these Yorkshire moors. From the outside looking in it may appear that the Earnshaws and Lintons were just a private family living their lives, but nobody really knows what goes on behind closed doors, except for the help, our Nelly. This is why her narration is crucial and without it, the story of Wuthering Heights may still exist, but would not be as believable.
“’Wuthering’ is a Yorkshire term for roaring of the wind” which is constantly seen in the weather of Wuthering Heights (Wuthering Heights 316). The weather in Wuthering Heights changes with the mood of the characters or with the mood of the place. The novel begins with a snowstorm that almost kills Lockwood, establishing the dreary setting of the story. When Mr. Earnshaw passes away a raging storm appears signifying his death. A downpour of rain frequently emerges when the plot of the story has taken a sad turn. When Heathcliff runs away from Wuthering Heights to London, rain symbolizes his departure. Rain also arose on the night of Heathcliff’s death (Wuthering Heights 317).
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.
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.
In the novel Wuthering Heights, Emily Bronte strongly emphasizes the dynamic and increasingly complex relationship of Mr. Heathcliff and Catherine. Heathcliff, the abandoned gypsy boy is brought to Wuthering Height by Mr. Earnshaw to be raised with his family. After Mr. Earnshaw's death, he suffers harsh abuses from his "brother" Hindley and from Catherine, whom he dearly loves. This abuse will pave the way for revenge. The evolving and elaborate plans for revenge Mr. Heathcliff masterminds for those who he feels had hurt him and betray him is what makes Wuthering Heights a classic in English literature. The sudden change in feelings and emotions in Mr. Heathcliff are powerful scenes. Revenge becomes the only reason to live for him. Revenge is the main theme in Wuthering Heights because it highlights important events, personality flaws, and the path of destruction.