نقد و بررسی رمان Wuthering Heights نوشته‌ی Emily Brontë

[*زهره*]

[h=3]Context[/h] Wuthering Heights, which has long been one of the most popular and highly regarded novels in English literature, seemed to hold little promise when it was published in 1847, selling very poorly and receiving only a few mixed reviews. Victorian readers found the book shocking and inappropriate in its depiction of passionate, ungoverned love and cruelty (despite the fact that the novel portrays no *** or bloodshed), and the work was virtually ignored. Even Emily Brontë’s sister Charlotte—an author whose works contained similar motifs of Gothic love and desolate landscapes—remained ambivalent toward the unapologetic intensity of her sister’s novel. In a preface to the book, which she wrote shortly after Emily Brontë’s death, Charlotte Brontë stated, “Whether it is right or advisable to create beings like Heathcliff, I do not know. I scarcely think it is.”

Emily Brontë lived an eccentric, closely guarded life. She was born in 1818, two years after Charlotte and a year and a half before her sister Anne, who also became an author. Her father worked as a church rector, and her aunt, who raised the Brontë children after their mother died, was deeply religious. Emily Brontë did not take to her aunt’s Christian fervor; the character of Joseph, a caricature of an evangelical, may have been inspired by her aunt’s religiosity. The Brontës lived in Haworth, a Yorkshire village in the midst of the moors. These wild, desolate expanses—later the setting of Wuthering Heights—made up the Brontës’ daily environment, and Emily lived among them her entire life. She died in 1848, at the age of thirty.
As witnessed by their extraordinary literary accomplishments, the Brontë children were a highly creative group, writing stories, plays, and poems for their own amusement. Largely left to their own devices, the children created imaginary worlds in which to play. Yet the sisters knew that the outside world would not respond favorably to their creative expression; female authors were often treated less seriously than their male counterparts in the nineteenth century. Thus the Brontë sisters thought it best to publish their adult works under assumed names. Charlotte wrote as Currer Bell, Emily as Ellis Bell, and Anne as Acton Bell. Their real identities remained secret until after Emily and Anne had died, when Charlotte at last revealed the truth of their novels’ authorship.
Today, Wuthering Heights has a secure position in the canon of world literature, and Emily Brontë is revered as one of the finest writers—male or female—of the nineteenth century. Like Charlotte Brontë’s Jane Eyre, Wuthering Heights is based partly on the Gothic tradition of the late eighteenth century, a style of literature that featured supernatural encounters, crumbling ruins, moonless nights, and grotesque imagery, seeking to create effects of mystery and fear. But Wuthering Heights transcends its genre in its sophisticated observation and artistic subtlety. The novel has been studied, analyzed, dissected, and discussed from every imaginable critical perspective, yet it remains unexhausted. And while the novel’s symbolism, themes, structure, and language may all spark fertile exploration, the bulk of its popularity may rest on its unforgettable characters. As a shattering presentation of the doomed love affair between the fiercely passionate Catherine and Heathcliff, it remains one of the most haunting love stories in all of literature.

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Plot Overview

In the late winter months of 1801, a man named Lockwood rents a manor house called Thrushcross Grange in the isolated moor country of England. Here, he meets his dour landlord, Heathcliff, a wealthy man who lives in the ancient manor of Wuthering Heights, four miles away from the Grange. In this wild, stormy countryside, Lockwood asks his housekeeper, Nelly Dean, to tell him the story of Heathcliff and the strange denizens of Wuthering Heights. Nelly consents, and Lockwood writes down his recollections of her tale in his diary; these written recollections form the main part of Wuthering Heights.

Nelly remembers her childhood. As a young girl, she works as a servant at Wuthering Heights for the owner of the manor, Mr. Earnshaw, and his family. One day, Mr. Earnshaw goes to Liverpool and returns home with an orphan boy whom he will raise with his own children. At first, the Earnshaw children—a boy named Hindley and his younger sister Catherine—detest the dark-skinned Heathcliff. But Catherine quickly comes to love him, and the two soon grow inseparable, spending their days playing on the moors. After his wife’s death, Mr. Earnshaw grows to prefer Heathcliff to his own son, and when Hindley continues his cruelty to Heathcliff, Mr. Earnshaw sends Hindley away to college, keeping Heathcliff nearby.
Three years later, Mr. Earnshaw dies, and Hindley inherits Wuthering Heights. He returns with a wife, Frances, and immediately seeks revenge on Heathcliff. Once an orphan, later a pampered and favored son, Heathcliff now finds himself treated as a common laborer, forced to work in the fields. Heathcliff continues his close relationship with Catherine, however. One night they wander to Thrushcross Grange, hoping to tease Edgar and Isabella Linton, the cowardly, snobbish children who live there. Catherine is bitten by a dog and is forced to stay at the Grange to recuperate for five weeks, during which time Mrs. Linton works to make her a proper young lady. By the time Catherine returns, she has become infatuated with Edgar, and her relationship with Heathcliff grows more complicated.
When Frances dies after giving birth to a baby boy named Hareton, Hindley descends into the depths of alcoholism, and behaves even more cruelly and abusively toward Heathcliff. Eventually, Catherine’s desire for social advancement prompts her to become engaged to Edgar Linton, despite her overpowering love for Heathcliff. Heathcliff runs away from Wuthering Heights, staying away for three years, and returning shortly after Catherine and Edgar’s marriage.
When Heathcliff returns, he immediately sets about seeking revenge on all who have wronged him. Having come into a vast and mysterious wealth, he deviously lends money to the drunken Hindley, knowing that Hindley will increase his debts and fall into deeper despondency. When Hindley dies, Heathcliff inherits the manor. He also places himself in line to inherit Thrushcross Grange by marrying Isabella Linton, whom he treats very cruelly. Catherine becomes ill, gives birth to a daughter, and dies. Heathcliff begs her spirit to remain on Earth—she may take whatever form she will, she may haunt him, drive him mad—just as long as she does not leave him alone. Shortly thereafter, Isabella flees to London and gives birth to Heathcliff’s son, named Linton after her family. She keeps the boy with her there.
Thirteen years pass, during which Nelly Dean serves as Catherine’s daughter’s nursemaid at Thrushcross Grange. Young Catherine is beautiful and headstrong like her mother, but her temperament is modified by her father’s gentler influence. Young Catherine grows up at the Grange with no knowledge of Wuthering Heights; one day, however, wandering through the moors, she discovers the manor, meets Hareton, and plays together with him. Soon afterwards, Isabella dies, and Linton comes to live with Heathcliff. Heathcliff treats his sickly, whining son even more cruelly than he treated the boy’s mother.
Three years later, Catherine meets Heathcliff on the moors, and makes a visit to Wuthering Heights to meet Linton. She and Linton begin a secret romance conducted entirely through letters. When Nelly destroys Catherine’s collection of letters, the girl begins sneaking out at night to spend time with her frail young lover, who asks her to come back and nurse him back to health. However, it quickly becomes apparent that Linton is pursuing Catherine only because Heathcliff is forcing him to; Heathcliff hopes that if Catherine marries Linton, his legal claim upon Thrushcross Grange—and his revenge upon Edgar Linton—will be complete. One day, as Edgar Linton grows ill and nears death, Heathcliff lures Nelly and Catherine back to Wuthering Heights, and holds them prisoner until Catherine marries Linton. Soon after the marriage, Edgar dies, and his death is quickly followed by the death of the sickly Linton. Heathcliff now controls both Wuthering Heights and Thrushcross Grange. He forces Catherine to live at Wuthering Heights and act as a common servant, while he rents Thrushcross Grange to Lockwood.
Nelly’s story ends as she reaches the present. Lockwood, appalled, ends his tenancy at Thrushcross Grange and returns to London. However, six months later, he pays a visit to Nelly, and learns of further developments in the story. Although Catherine originally mocked Hareton’s ignorance and illiteracy (in an act of retribution, Heathcliff ended Hareton’s education after Hindley died), Catherine grows to love Hareton as they live together at Wuthering Heights. Heathcliff becomes more and more obsessed with the memory of the elder Catherine, to the extent that he begins speaking to her ghost. Everything he sees reminds him of her. Shortly after a night spent walking on the moors, Heathcliff dies. Hareton and young Catherine inherit Wuthering Heights and Thrushcross Grange, and they plan to be married on the next New Year’s Day. After hearing the end of the story, Lockwood goes to visit the graves of Catherine and Heathcliff.

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[h=3]Character List[/h] Heathcliff - An orphan brought to live at Wuthering Heights by Mr. Earnshaw, Heathcliff falls into an intense, unbreakable love with Mr. Earnshaw’s daughter Catherine. After Mr. Earnshaw dies, his resentful son Hindley abuses Heathcliff and treats him as a servant. Because of her desire for social prominence, Catherine marries Edgar Linton instead of Heathcliff. Heathcliff’s humiliation and misery prompt him to spend most of the rest of his life seeking revenge on Hindley, his beloved Catherine, and their respective children (Hareton and young Catherine). A powerful, fierce, and often cruel man, Heathcliff acquires a fortune and uses his extraordinary powers of will to acquire both Wuthering Heights and Thrushcross Grange, the estate of Edgar Linton.


Catherine - The daughter of Mr. Earnshaw and his wife, Catherine falls powerfully in love with Heathcliff, the orphan Mr. Earnshaw brings home from Liverpool. Catherine loves Heathcliff so intensely that she claims they are the same person. However, her desire for social advancement motivates her to marry Edgar Linton instead. Catherine is free-spirited, beautiful, spoiled, and often arrogant. She is given to fits of temper, and she is torn between her wild passion for Heathcliff and her social ambition. She brings misery to both of the men who love her.


Edgar Linton - Well-bred but rather spoiled as a boy, Edgar Linton grows into a tender, constant, but cowardly man. He is almost the ideal gentleman: Catherine accurately describes him as “handsome,” “pleasant to be with,” “cheerful,” and “rich.” However, this full assortment of gentlemanly characteristics, along with his civilized virtues, proves useless in Edgar’s clashes with his foil, Heathcliff, who gains power over his wife, sister, and daughter.

Nelly Dean - Nelly Dean (known formally as Ellen Dean) serves as the chief narrator of Wuthering Heights. A sensible, intelligent, and compassionate woman, she grew up essentially alongside Hindley and Catherine Earnshaw and is deeply involved in the story she tells. She has strong feelings for the characters in her story, and these feelings complicate her narration.

Lockwood - Lockwood’s narration forms a frame around Nelly’s; he serves as an intermediary between Nelly and the reader. A somewhat vain and presumptuous gentleman, he deals very clumsily with the inhabitants of Wuthering Heights. Lockwood comes from a more domesticated region of England, and he finds himself at a loss when he witnesses the strange household’s disregard for the social conventions that have always structured his world. As a narrator, his vanity and unfamiliarity with the story occasionally lead him to misunderstand events.

Young Catherine - For clarity’s sake, this SparkNote refers to the daughter of Edgar Linton and the first Catherine as “young Catherine.” The first Catherine begins her life as Catherine Earnshaw and ends it as Catherine Linton; her daughter begins as Catherine Linton and, assuming that she marries Hareton after the end of the story, goes on to become Catherine Earnshaw. The mother and the daughter share not only a name, but also a tendency toward headstrong behavior, impetuousness, and occasional arrogance. However, Edgar’s influence seems to have tempered young Catherine’s character, and she is a gentler and more compassionate creature than her mother.

Hareton Earnshaw - The son of Hindley and Frances Earnshaw, Hareton is Catherine’s nephew. After Hindley’s death, Heathcliff assumes custody of Hareton, and raises him as an uneducated field worker, just as Hindley had done to Heathcliff himself. Thus Heathcliff uses Hareton to seek revenge on Hindley. Illiterate and quick-tempered, Hareton is easily humiliated, but shows a good heart and a deep desire to improve himself. At the end of the novel, he marries young Catherine.

Linton Heathcliff - Heathcliff’s son by Isabella. Weak, sniveling, demanding, and constantly ill, Linton is raised in London by his mother and does not meet his father until he is thirteen years old, when he goes to live with him after his mother’s death. Heathcliff despises Linton, treats him contemptuously, and, by forcing him to marry the young Catherine, uses him to cement his control over Thrushcross Grange after Edgar Linton’s death. Linton himself dies not long after this marriage.

Hindley Earnshaw - Catherine’s brother, and Mr. Earnshaw’s son. Hindley resents it when Heathcliff is brought to live at Wuthering Heights. After his father dies and he inherits the estate, Hindley begins to abuse the young Heathcliff, terminating his education and forcing him to work in the fields. When Hindley’s wife Frances dies shortly after giving birth to their son Hareton, he lapses into alcoholism and dissipation.

Isabella Linton - Edgar Linton’s sister, who falls in love with Heathcliff and marries him. She sees Heathcliff as a romantic figure, like a character in a novel. Ultimately, she ruins her life by falling in love with him. He never returns her feelings and treats her as a mere tool in his quest for revenge on the Linton family.

Mr. Earnshaw - Catherine and Hindley’s father. Mr. Earnshaw adopts Heathcliff and brings him to live at Wuthering Heights. Mr. Earnshaw prefers Heathcliff to Hindley but nevertheless bequeaths Wuthering Heights to Hindley when he dies.

Mrs. Earnshaw - Catherine and Hindley’s mother, who neither likes nor trusts the orphan Heathcliff when he is brought to live at her house. She dies shortly after Heathcliff’s arrival at Wuthering Heights.

Joseph - A long-winded, fanatically religious, elderly servant at Wuthering Heights. Joseph is strange, stubborn, and unkind, and he speaks with a thick Yorkshire accent.

Frances Earnshaw - Hindley’s simpering, silly wife, who treats Heathcliff cruelly. She dies shortly after giving birth to Hareton.

Mr. Linton - Edgar and Isabella’s father and the proprietor of Thrushcross Grange when Heathcliff and Catherine are children. An established member of the gentry, he raises his son and daughter to be well-mannered young people.

Mrs. Linton - Mr. Linton’s somewhat snobbish wife, who does not like Heathcliff to be allowed near her children, Edgar and Isabella. She teaches Catherine to act like a gentle-woman, thereby instilling her with social ambitions.

Zillah - The housekeeper at Wuthering Heights during the latter stages of the narrative.

Mr. Green - Edgar Linton’s lawyer, who arrives too late to hear Edgar’s final instruction to change his will, which would have prevented Heathcliff from obtaining control over Thrushcross Grange.


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[h=3]Analysis of Major Characters[/h]
[h=4]Heathcliff[/h] Wuthering Heights centers around the story of Heathcliff. The first paragraph of the novel provides a vivid physical picture of him, as Lockwood describes how his “black eyes” withdraw suspiciously under his brows at Lockwood’s approach. Nelly’s story begins with his introduction into the Earnshaw family, his vengeful machinations drive the entire plot, and his death ends the book. The desire to understand him and his motivations has kept countless readers engaged in the novel.

Heathcliff, however, defies being understood, and it is difficult for readers to resist seeing what they want or expect to see in him. The novel teases the reader with the possibility that Heathcliff is something other than what he seems—that his cruelty is merely an expression of his frustrated love for Catherine, or that his sinister behaviors serve to conceal the heart of a romantic hero. We expect Heathcliff’s character to contain such a hidden virtue because he resembles a hero in a romance novel. Traditionally, romance novel heroes appear dangerous, brooding, and cold at first, only later to emerge as fiercely devoted and loving. One hundred years before Emily Brontë wrote Wuthering Heights, the notion that “a reformed rake makes the best husband” was already a cliché of romantic literature, and romance novels center around the same cliché to this day.
However, Heathcliff does not reform, and his malevolence proves so great and long-lasting that it cannot be adequately explained even as a desire for revenge against Hindley, Catherine, Edgar, etc. As he himself points out, his abuse of Isabella is purely sadistic, as he amuses himself by seeing how much abuse she can take and still come cringing back for more. Critic Joyce Carol Oates argues that Emily Brontë does the same thing to the reader that Heathcliff does to Isabella, testing to see how many times the reader can be shocked by Heathcliff’s gratuitous violence and still, masochistically, insist on seeing him as a romantic hero.
It is significant that Heathcliff begins his life as a homeless orphan on the streets of Liverpool. When Brontë composed her book, in the 1840s, the English economy was severely depressed, and the conditions of the factory workers in industrial areas like Liverpool were so appalling that the upper and middle classes feared violent revolt. Thus, many of the more affluent members of society beheld these workers with a mixture of sympathy and fear. In literature, the smoky, threatening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of England’s “dark Satanic Mills.” Heathcliff, of course, is frequently compared to a demon by the other characters in the book.
Considering this historical context, Heathcliff seems to embody the anxieties that the book’s upper- and middle-class audience had about the working classes. The reader may easily sympathize with him when he is powerless, as a child tyrannized by Hindley Earnshaw, but he becomes a villain when he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman. This corresponds with the ambivalence the upper classes felt toward the lower classes—the upper classes had charitable impulses toward lower-class citizens when they were miserable, but feared the prospect of the lower classes trying to escape their miserable circumstances by acquiring political, social, cultural, or economic power.


[h=4]Catherine[/h] The location of Catherine’s coffin symbolizes the conflict that tears apart her short life. She is not buried in the chapel with the Lintons. Nor is her coffin placed among the tombs of the Earnshaws. Instead, as Nelly describes in Chapter XVI, Catherine is buried “in a corner of the kirkyard, where the wall is so low that heath and bilberry plants have climbed over it from the moor.” Moreover, she is buried with Edgar on one side and Heathcliff on the other, suggesting her conflicted loyalties. Her actions are driven in part by her social ambitions, which initially are awakened during her first stay at the Lintons’, and which eventually compel her to marry Edgar. However, she is also motivated by impulses that prompt her to violate social conventions—to love Heathcliff, throw temper tantrums, and run around on the moor.

Isabella Linton—Catherine’s sister-in-law and Heathcliff’s wife, who was born in the same year that Catherine was—serves as Catherine’s foil. The two women’s parallel positions allow us to see their differences with greater clarity. Catherine represents wild nature, in both her high, lively spirits and her occasional cruelty, whereas Isabella represents culture and civilization, both in her refinement and in her weakness.


[h=4]Edgar[/h] Just as Isabella Linton serves as Catherine’s foil, Edgar Linton serves as Heathcliff’s. Edgar is born and raised a gentleman. He is graceful, well-mannered, and instilled with civilized virtues. These qualities cause Catherine to choose Edgar over Heathcliff and thus to initiate the contention between the men. Nevertheless, Edgar’s gentlemanly qualities ultimately prove useless in his ensuing rivalry with Heathcliff. Edgar is particularly humiliated by his confrontation with Heathcliff in Chapter XI, in which he openly shows his fear of fighting Heathcliff. Catherine, having witnessed the scene, taunts him, saying, “Heathcliff would as soon lift a finger at you as the king would march his army against a colony of mice.” As the reader can see from the earliest descriptions of Edgar as a spoiled child, his refinement is tied to his helplessness and impotence.

Charlotte Brontë, in her preface to the 1850 edition of Wuthering Heights, refers to Edgar as “an example of constancy and tenderness,” and goes on to suggest that her sister Emily was using Edgar to point out that such characteristics constitute true virtues in all human beings, and not just in women, as society tended to believe. However, Charlotte’s reading seems influenced by her own feminist agenda. Edgar’s inability to counter Heathcliff’s vengeance, and his naïve belief on his deathbed in his daughter’s safety and happiness, make him a weak, if sympathetic, character.


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[h=3]Themes, Motifs & Symbols[/h] [h=4]Themes
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Themes are the fundamental and often universal ideas explored in a literary work.​

[h=5]The Destructiveness of a Love That Never Changes[/h] Catherine and Heathcliff’s passion for one another seems to be the center of Wuthering Heights, given that it is stronger and more lasting than any other emotion displayed in the novel, and that it is the source of most of the major conflicts that structure the novel’s plot. As she tells Catherine and Heathcliff’s story, Nelly criticizes both of them harshly, condemning their passion as immoral, but this passion is obviously one of the most compelling and memorable aspects of the book. It is not easy to decide whether Brontë intends the reader to condemn these lovers as blameworthy or to idealize them as romantic heroes whose love transcends social norms and conventional morality. The book is actually structured around two parallel love stories, the first half of the novel centering on the love between Catherine and Heathcliff, while the less dramatic second half features the developing love between young Catherine and Hareton. In contrast to the first, the latter tale ends happily, restoring peace and order to Wuthering Heights and Thrushcross Grange. The differences between the two love stories contribute to the reader’s understanding of why each ends the way it does.

The most important feature of young Catherine and Hareton’s love story is that it involves growth and change. Early in the novel Hareton seems irredeemably brutal, savage, and illiterate, but over time he becomes a loyal friend to young Catherine and learns to read. When young Catherine first meets Hareton he seems completely alien to her world, yet her attitude also evolves from contempt to love. Catherine and Heathcliff’s love, on the other hand, is rooted in their childhood and is marked by the refusal to change. In choosing to marry Edgar, Catherine seeks a more genteel life, but she refuses to adapt to her role as wife, either by sacrificing Heathcliff or embracing Edgar. In Chapter XII she suggests to Nelly that the years since she was twelve years old and her father died have been like a blank to her, and she longs to return to the moors of her childhood. Heathcliff, for his part, possesses a seemingly superhuman ability to maintain the same attitude and to nurse the same grudges over many years.
Moreover, Catherine and Heathcliff’s love is based on their shared perception that they are identical. Catherine declares, famously, “I am Heathcliff,” while Heathcliff, upon Catherine’s death, wails that he cannot live without his “soul,” meaning Catherine. Their love denies difference, and is strangely a***ual. The two do not kiss in dark corners or arrange secret trysts, as adulterers do. Given that Catherine and Heathcliff’s love is based upon their refusal to change over time or embrace difference in others, it is fitting that the disastrous problems of their generation are overcome not by some climactic reversal, but simply by the inexorable passage of time, and the rise of a new and distinct generation. Ultimately, Wuthering Heights presents a vision of life as a process of change, and celebrates this process over and against the romantic intensity of its principal characters.
[h=5]The Precariousness of Social Class[/h] As members of the gentry, the Earnshaws and the Lintons occupy a somewhat precarious place within the hierarchy of late eighteenth- and early nineteenth-century British society. At the top of British society was the royalty, followed by the aristocracy, then by the gentry, and then by the lower classes, who made up the vast majority of the population. Although the gentry, or upper middle class, possessed servants and often large estates, they held a nonetheless fragile social position. The social status of aristocrats was a formal and settled matter, because aristocrats had official titles. Members of the gentry, however, held no titles, and their status was thus subject to change. A man might see himself as a gentleman but find, to his embarrassment, that his neighbors did not share this view. A discussion of whether or not a man was really a gentleman would consider such questions as how much land he owned, how many tenants and servants he had, how he spoke, whether he kept horses and a carriage, and whether his money came from land or “trade”—gentlemen scorned banking and commercial activities.

Considerations of class status often crucially inform the characters’ motivations in Wuthering Heights. Catherine’s decision to marry Edgar so that she will be “the greatest woman of the neighborhood” is only the most obvious example. The Lintons are relatively firm in their gentry status but nonetheless take great pains to prove this status through their behaviors. The Earnshaws, on the other hand, rest on much shakier ground socially. They do not have a carriage, they have less land, and their house, as Lockwood remarks with great puzzlement, resembles that of a “homely, northern farmer” and not that of a gentleman. The shifting nature of social status is demonstrated most strikingly in Heathcliff’s trajectory from homeless waif to young gentleman-by-adoption to common laborer to gentleman again (although the status-conscious Lockwood remarks that Heathcliff is only a gentleman in “dress and manners”).
[h=4]Motifs
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Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text’s major themes.
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[h=5]Doubles[/h] Brontë organizes her novel by arranging its elements—characters, places, and themes—into pairs. Catherine and Heathcliff are closely matched in many ways, and see themselves as identical. Catherine’s character is divided into two warring sides: the side that wants Edgar and the side that wants Heathcliff. Catherine and young Catherine are both remarkably similar and strikingly different. The two houses, Wuthering Heights and Thrushcross Grange, represent opposing worlds and values. The novel has not one but two distinctly different narrators, Nelly and Mr. Lockwood. The relation between such paired elements is usually quite complicated, with the members of each pair being neither exactly alike nor diametrically opposed. For instance, the Lintons and the Earnshaws may at first seem to represent opposing sets of values, but, by the end of the novel, so many intermarriages have taken place that one can no longer distinguish between the two families.

[h=5]Repetition[/h] Repetition is another tactic Brontë employs in organizing Wuthering Heights. It seems that nothing ever ends in the world of this novel. Instead, time seems to run in cycles, and the horrors of the past repeat themselves in the present. The way that the names of the characters are recycled, so that the names of the characters of the younger generation seem only to be rescramblings of the names of their parents, leads the reader to consider how plot elements also repeat themselves. For instance, Heathcliff’s degradation of Hareton repeats Hindley’s degradation of Heathcliff. Also, the young Catherine’s mockery of Joseph’s earnest evangelical zealousness repeats her mother’s. Even Heathcliff’s second try at opening Catherine’s grave repeats his first.

[h=5]The Conflict Between Nature and Culture[/h] In Wuthering Heights, Brontë constantly plays nature and culture against each other. Nature is represented by the Earnshaw family, and by Catherine and Heathcliff in particular. These characters are governed by their passions, not by reflection or ideals of civility. Correspondingly, the house where they live—Wuthering Heights—comes to symbolize a similar wildness. On the other hand, Thrushcross Grange and the Linton family represent culture, refinement, convention, and cultivation.

When, in Chapter VI, Catherine is bitten by the Lintons’ dog and brought into Thrushcross Grange, the two sides are brought onto the collision course that structures the majority of the novel’s plot. At the time of that first meeting between the Linton and Earnshaw households, chaos has already begun to erupt at Wuthering Heights, where Hindley’s cruelty and injustice reign, whereas all seems to be fine and peaceful at Thrushcross Grange. However, the influence of Wuthering Heights soon proves overpowering, and the inhabitants of Thrushcross Grange are drawn into Catherine, Hindley, and Heathcliff’s drama. Thus the reader almost may interpret Wuthering Heights’s impact on the Linton family as an allegory for the corruption of culture by nature, creating a curious reversal of the more traditional story of the corruption of nature by culture. However, Brontë tells her story in such a way as to prevent our interest and sympathy from straying too far from the wilder characters, and often portrays the more civilized characters as despicably weak and silly. This method of characterization prevents the novel from flattening out into a simple privileging of culture over nature, or vice versa. Thus in the end the reader must acknowledge that the novel is no mere allegory.
[h=4]Symbols
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Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts.
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[h=5]Moors[/h] The constant emphasis on landscape within the text of Wuthering Heights endows the setting with symbolic importance. This landscape is comprised primarily of moors: wide, wild expanses, high but somewhat soggy, and thus infertile. Moorland cannot be cultivated, and its uniformity makes navigation difficult. It features particularly waterlogged patches in which people could potentially drown. (This possibility is mentioned several times in Wuthering Heights.) Thus, the moors serve very well as symbols of the wild threat posed by nature. As the setting for the beginnings of Catherine and Heathcliff’s bond (the two play on the moors during childhood), the moorland transfers its symbolic associations onto the love affair.

[h=5]Ghosts[/h] Ghosts appear throughout Wuthering Heights, as they do in most other works of Gothic fiction, yet Brontë always presents them in such a way that whether they really exist remains ambiguous. Thus the world of the novel can always be interpreted as a realistic one. Certain ghosts—such as Catherine’s spirit when it appears to Lockwood in Chapter III—may be explained as nightmares. The villagers’ alleged sightings of Heathcliff’s ghost in Chapter XXXIV could be dismissed as unverified superstition. Whether or not the ghosts are “real,” they symbolize the manifestation of the past within the present, and the way memory stays with people, permeating their day-to-day lives.


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[h=3]Key Facts[/h] full title · Wuthering Heights
author · Emily Brontë
type of work · Novel
genre · Gothic novel (designed to both horrify and fascinate readers with scenes of passion and cruelty; supernatural elements; and a dark, foreboding atmosphere); also realist fiction (incorporates vivid circumstantial detail into a consistently and minutely thought-out plot, dealing mostly with the relationships of the characters to one another)
language · English (including bits of Yorkshire dialect)
time and place written · In 1846–1847, Emily Brontë wrote Wuthering Heights in the parsonage of the isolated village of Haworth, in Yorkshire.
date of first publication · 1847
publisher · Thomas C. Newby
narrator · Lockwood, a newcomer to the locale of Wuthering Heights, narrates the entire novel as an entry in his diary. The story that Lockwood records is told to him by Nelly, a servant, and Lockwood writes most of the narrative in her voice, describing how she told it to him. Some parts of Nelly’s story are narrated by other characters, such as when Nelly receives a letter from Isabella and recites its contents verbatim.
point of view · Most of the events of the novel are narrated in Nelly’s voice, from Nelly’s point of view, focusing only on what Nelly can see and hear, or what she can find out about indirectly. Nelly frequently comments on what the other characters think and feel, and on what their motivations are, but these comments are all based on her own interpretations of the other characters—she is not an omniscient narrator.
tone · It is not easy to infer the author’s attitude toward the events of the novel. The melodramatic quality of the first half of the novel suggests that Brontë views Catherine and Heathcliff’s doomed love as a tragedy of lost potential and wasted passion. However, the outcome of the second half of the novel suggests that Brontë is more interested in celebrating the renewal and rebirth brought about by the passage of time, and the rise of a new generation, than she is in mourning Heathcliff and Catherine.
tense · Both Lockwood’s and Nelly’s narrations are in the past tense.
setting (time) · The action of Nelly’s story begins in the 1770s; Lockwood leaves Yorkshire in 1802.
setting (place) · All the action of Wuthering Heights takes place in or around two neighboring houses on the Yorkshire moors—Wuthering Heights and Thrushcross Grange.
protagonists · Heathcliff, Catherine
major conflicts · Heathcliff’s great natural abilities, strength of character, and love for Catherine Earnshaw all enable him to raise himself from humble beginnings to the status of a wealthy gentleman, but his need to revenge himself for Hindley’s abuse and Catherine’s betrayal leads him into a twisted life of cruelty and hatred; Catherine is torn between her love for Heathcliff and her desire to be a gentlewoman, and her decision to marry the genteel Edgar Linton drags almost all of the novel’s characters into conflict with Heathcliff.
rising action · Heathcliff’s arrival at Wuthering Heights, Hindley’s abusive treatment of Heathcliff, and Catherine’s first visit to Thrushcross Grange set the major conflicts in motion; once Heathcliff hears Catherine say it would “degrade” her to marry him, the conversation between Nelly and Catherine, which he secretly overhears, drives him to run away and pursue his vengeance.
climax · Catherine’s death is the culmination of the conflict between herself and Heathcliff and removes any possibility that their conflict could be resolved positively; after Catherine’s death, Heathcliff merely extends and deepens his drives toward revenge and cruelty.
falling action · Heathcliff destroys Isabella and drives her away, takes possession of young Linton, forces Catherine and Linton to marry, inherits Thrushcross Grange, then loses interest in the whole project and dies; Hareton and young Catherine are to be engaged to be married, promising an end to the cycle of revenge.
themes · The destructiveness of a love that never changes; the precariousness of social class
motifs · Doubles, repetition, the conflict between nature and culture
symbols · The moors, ghosts
foreshadowing · Lockwood’s initial visit to Wuthering Heights, in which the mysterious relationships and lurking resentments between the characters create an air of mystery; Lockwood’s ghostly nightmares, during the night he spends in Catherine’s old bed, prefigure many of the events of the rest of the novel.


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