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Analysis of Emily Brontë’s Wuthering Heights

By NASRULLAH MAMBROL on March 25, 2019 • ( 3 )

Wuthering Heights is constructed around a series of dialectic motifs that interconnect and unify the elements of setting, character, and plot. An examination of these motifs will give the reader the clearest insight into the central meaning of the novel. Although Wuthering Heights is a “classic,” as Frank Kermode has noted, precisely because it is open to many different critical methods and conducive to many levels of interpretation, the novel grows from a coherent imaginative vision that underlies all the motifs. That vision demonstrates that all human perception is limited and failed. The fullest approach to Emily Brontë’s novel is through the basic patterns that support this vision.

Wuthering Heights concerns the interactions of two families, the Earnshaws and Lintons, over three generations. The novel is set in the desolate moors of Yorkshire and covers the years from 1771 to 1803. The Earnshaws and Lintons are in harmony with their environment, but their lives are disrupted by an outsider and catalyst of change, the orphan Heathcliff. Heathcliff is, first of all, an emblem of the social problems of a nation entering the age of industrial expansion and urban growth. Although Brontë sets the action of the novel entirely within the locale familiar to her, she reminds the reader continually of the contrast between that world and the larger world outside.

Aside from Heathcliff’s background as a child of the streets and the description of urban Liverpool, from which he is brought, the novel contains other reminders that Yorkshire, long insulated from change and susceptible only to the forces of nature, is no longer as remote as it once was. The servant Joseph’s religious cant, the class distinctions obvious in the treatment of Nelly Dean as well as of Heathcliff, and Lockwood’s pseudosophisticated urban values are all reminders that Wuthering Heights cannot remain as it has been, that religious, social, and economic change is rampant. Brontë clearly signifies in the courtship and marriage of young Cathy and Hareton that progress and enlightenment will come and the wilderness will be tamed. Heathcliff is both an embodiment of the force of this change and its victim. He brings about a change but cannot change himself. What he leaves behind, as Lockwood attests and the relationship of Cathy and Hareton verifies, is a new society, at peace with itself and its environment.

It is not necessary, however, to examine in depth the Victorian context of Wuthering Height s to sense the dialectic contrast of environments. Within the limited setting that the novel itself describes, society is divided between two opposing worlds: Wuthering Heights, ancestral home of the Earnshaws, and Thrushcross Grange, the Linton estate. Wuthering Heights is rustic and wild; it is open to the elements of nature and takes its name from “atmospheric tumult.” The house is strong, built with narrow windows and jutting cornerstones, fortified to withstand the battering of external forces. It is identified with the outdoors and nature and with strong, “masculine” values. Its appearance, both inside and out, is wild, untamed, disordered, and hard. The Grange expresses a more civilized, controlled atmosphere. The house is neat and orderly, and there is always an abundance of light—to Brontë’s mind, “feminine” values. It is not surprising that Lockwood is more comfortable at the Grange, since he takes pleasure in “feminine” behavior (gossip, vanity of appearance, adherence to social decorum, romantic self-delusion), while Heathcliff, entirely “masculine,” is always out of place there.

Even Cathy’s passionate cry for Heathcliff, “Nelly, I am Heathcliff,” is less love for him as an individual than the deepest form of self-love. Cathy cannot exist without him, but a meaningful relationship is not possible because Cathy sees Heathcliff only as a reflection of herself. Heathcliff, too, has denied an important aspect of his personality. Archetypally masculine, Heathcliff acts out only the aggressive, violent parts of himself.

The settings and the characters are patterned against each other, and explosions are the only possible results. Only Hareton and young Cathy, each of whom embodies the psychological characteristics of both Heights and Grange, can successfully sustain a mutual relationship.

This dialectic structure extends into the roles of the narrators as well. The story is reflected through the words of Nelly Dean—an inmate of both houses, a participant in the events of the narrative, and a confidant of the major characters—and Lockwood, an outsider who witnesses only the results of the characters’ interactions. Nelly is a companion and servant in the Earnshaw and Linton households, and she shares many of the values and perceptions of the families. Lockwood, an urban sophisticate on retreat, misunderstands his own character as well as the characters of others. His brief romantic “adventure” in Bath and his awkwardness when he arrives at the Heights (he thinks Cathy will fall in love with him; he mistakes the dead rabbits for puppies) exemplify his obtuseness. His perceptions are always to be questioned. Occasionally, however, even a denizen of the conventional world may gain a glimpse of the forces at work beneath the surface of reality. Lockwood’s dream of the dead Cathy, which sets off his curiosity and Heathcliff’s final plans, is a reminder that even the placid, normal world may be disrupted by the psychic violence of a willful personality.

The presentation of two family units and parallel brother-sister, husband-wife relationships in each also emphasizes the dialectic. That two such opposing modes of behavior could arise in the same environment prevents the reader from easy condemnation of either pair. The use of flashback for the major part of the narration—it begins in medias res—reminds the reader that he or she is seeing events out of their natural order, recounted by two individuals whose reliability must be questioned. The working out of the plot over three generations further suggests that no one group, much less one individual, can perceive the complexity of the human personality.

Taken together, the setting, plot, characters, and structure combine into a whole when they are seen as parts of the dialectic nature of existence. In a world where opposing forces are continually arrayed against each other in the environment, in society, in families, and in relationships, as well as within the individual, there can be no easy route to perception of another human soul. Wuthering Heights convincingly demonstrates the complexity of this dialectic and portrays the limitations of human perception.

Bibliography Barnard, Robert. Emily Brontë. New York: Oxford University Press, 2000. Benvenuto, Richard. Emily Brontë. Boston: Twayne, 1982. Berg, Maggie. “Wuthering Heights”: The Writing in the Margin. New York: Twayne, 1996. Davies, Stevie. Emily Brontë: Heretic. London: Women’s Press, 1994. Frank, Katherine. A Chainless Soul: A Life of Emily Brontë. Boston: Houghton Mifflin, 1990. Glen, Heather, ed. The Cambridge Companion to the Brontës. New York: Cambridge University Press, 2002. Liddell, Robert. Twin Spirits: The Novels of Emily and Anne Brontë. London: Peter Owen, 1990. Miller, Lucasta. The Brontë Myth. London: Jonathan Cape, 2001. Pykett, Lyn. Emily Brontë. Savage, Md.: Barnes & Noble, 1989. Rollyson, Carl, and Lisa Paddock. The Brontës A to Z: The Essential Reference to Their Lives and Work. New York: Facts On File, 2003. Vine, Steve. Emily Brontë. New York: Twayne, 1998. Winnifrith, Tom, ed. Critical Essays on Emily Brontë. NewYork: G. K. Hall, 1997.

Major works Poetry: Poems by Currer, Ellis, and Acton Bell, 1846 (with Charlotte Brontë and Anne Brontë); The Complete Poems of Emily Jane Brontë, 1941 (C. W. Hatfield, editor); Gondal’s Queen: A Novel in Verse by Emily Jane Brontë, 1955 (Fannie E. Ratchford, editor). Nonfiction : Five Essays Written in French, 1948 (Lorine White Nagel, translator); The Brontë Letters, 1954 (Muriel Spark, editor).

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I found it very informative. Representation of the two worlds is amazing. Thanks a lot.

VERY NICE;I LIKED THE WAY OF ANALYSIS OF WHOLE NOVEL AND DESCRIBE EVERY THING,

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Home — Essay Samples — Literature — Wuthering Heights — A Theme of Good and Evil in “Wuthering Heights” by Emily Brontë

Wuthering Heights: a Theme of Good and Evil in Brontë's Novel

• Categories: Wuthering Heights

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Published: Oct 2, 2020

Words: 1147 | Pages: 2 | 6 min read

Works Cited

• Brontë, E. (1847). Wuthering Heights. London, England: Thomas Cautley Newby.
• Duyfhuizen, B. (2003). "Of False Deeds and True Love": The Discourse of Moral Rightness in Wuthering Heights. The Victorian Newsletter, 104, 31-44.
• Gannon, S. (2011). The Supernatural in Wuthering Heights: A Metaphysical Examination of Heathcliff. The Explicator, 69(2), 98-101.
• Grant, K. (2016). Good and Evil in Wuthering Heights. Retrieved from https://medium.com/@kayakgrant/good-and-evil-in-wuthering-heights-77501c06607a
• Hood, S. (2018). Duality in Emily Brontë's Wuthering Heights: The Battle Between Good and Evil. The Student Journal of Literature, Culture, and the Arts, 5(2), 101-110.
• Ivey, J. (2010). Wuthering Heights: A Study in Horror. The Explicator, 68(2), 102-105.
• Malik, A. A. (2016). Evil and Its Causes in Wuthering Heights. International Journal of English and Education, 5(4), 76-85.
• Mermin, D. (2005). Afterward. In E. Brontë, Wuthering Heights (pp. 313-333). New York, NY: Penguin Books.
• Moss, M. (1992). 'The Will to Be Stronger Than He Is': Weakness and Evil in Wuthering Heights. Nineteenth-Century Literature, 47(4), 450-466.
• Niederhoff, B. (2016). The Depiction of Evil Characters in British Literature : Catherine and Heathcliff in Wuthering Heights. In M. Fritz, H. Graf, & N. Lauer (Eds.), The Seduction of Power: Evil in German-Language Literature and Visual Media Since 1945 (pp. 207-216). Berlin, Germany: Walter de Gruyter.

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A critical analysis on the “Wuthering Heights” by Emily Brontë

“Wuthering Heights” is a novel by the author Emily Bronte. She wrote it through 1845 and 1846 and then first published in 1847. Many people have not only read the book but have also liked it. This is due to the contradicting ideas that are also entertaining in the book such as love, classism, and revenge, just to name a few. These are ideas that everyone reading the novel can relate to because they are part of our reality as a people. These and many other truths are greatly represented throughout Emily Bronte’s Wuthering Heights. Realistic representation of ideas is a very good aspect of any novel. Thus, more and more people should yearn to readers of this wonderful book.

Main Ideas in Wuthering Heights

• Love This is one of the most dominant ideas in the novel. Two main characters in Emily Bronte’s Wuthering Heights were so in love it drove them crazy. The two lovers were Catherine from the Linton family, and Heathcliff from the Earnshaw family. Catherine possesses a hostile character but due to her love for Heathcliff, she dramatically changes into this orderly, happy and friendly lady when the latter is around. Heathcliff on the other hand, is so madly in love with Catherine that he gets so angry at anyone who opposes his love for her.
• Vengeance This idea has been presented as going hand in hand with love in the novel. Heathcliff loathes his step-brother Hindley for being given authority over the house, leaving him out of the cake of power. Adding salt to an injury, Catherine rejects him regarding his social status. He feels belittled and this creates a need for revenge in him. He therefore decides and purposes to revenge on Hindley.
• Classism Classism is also known as social class war between the poor and the rich. It still exists today in our society and it has gotten even worse. Classism has been represented by how Catherine, who is so wealthy, treats Heathcliff with intimidation due to his humble background. Catherine refers to Heathcliff as a low class gypsy. This prompted Heathcliff to go missing in action for 3 years after which he returned a changed person. Not wealthier but better in manners and dressing code.

The History of Wuthering Heights

Emily Bronte’s Wuthering Heights is a complex love story involving a male orphan and a rich female. The novel was first published in December 1847 and has been one of the best-selling novels. It is also one of the most read novels since it combines more than one genres in the most creative of ways. Genres including gothic fiction, fiction classics, literary fiction, romance, ghost stories, tragedy, and poetic allegory has spiced up the story which is based on a true setting – the wind-swept moorlands of Northern England. Up to date, readers still find the story very disturbing and has continued to attract a lot of readership and also a lot of critique.

Problems in The Novel

Some of the problems presented in Emily Bronte’s Wuthering Heights are those that any author would face in the whole process starting from writing, editing, all the way to publishing. The novel received a lot of critique from publishers citing various issues such as repetition due to much dualism and structural differences. The version that the author Emily Bronte had in mind is not the same version as the final. The main problem, therefore, is that the novel did not actually put out to the world all that was meant to be. As a result of rejection of the original version of the novel, some parts of the novel still remain disturbingly confusing to the readers. Not to forget that the story is not chronologically consistent at some points.

The plot of the novel

The novel revolves around how Catherine and Heathcliff grew crazily in love with each other. Unfortunately, the love turns into betrayal and vengeance by both parties. Catherine rejects Heathcliff and gets married to a rich man, Edgar, while still being in love with Heathcliff. It becomes a love triangle. Heathcliff finds another suitor, Isabella, with whom they run away together. On realizing this, Catherine gets brain fever and dies and young Catherine is born. Isabella escapes to London and Hindley dies of alcohol addiction leaving Heathcliff as the master of Wuthering Heights. Young Catherine grows old enough and gets romantically attracted to Linton and both lovers stage their romance in winter of 1800. This leads to Heathcliff detaining her so she could marry his son, Linton, by force. Unfortunately, both Edgar Linton and Linton Heathcliff die the same year and Heathcliff is left to be the master of Thrushcross Grange, where Lockwood starts living in as a tenant. After sometime, Lockwood’s tenancy terminates and he goes back to London leaving Young Catherine and a guy called Hareton to start dating. Heathcliff also dies and Young Catherine gets married to Hareton.

Characters in the novel

• Heathcliff Vengeful and unfriendly – He vows to take revenge on Catherine and Edgar. Due to bitterness from childhood mistreatment, he treats everybody else poorly Sadistic – he maliciously finds joy in confining Isabella. He also inflicts pain on Hindley and Catherine for small mistakes. He also forcefully confines young Catherine so that he could marry Linton.
• Catherine Understanding – she understands the reason underlying Heathcliff’s behavior. Cruel – she rejected Heathcliff based on his humble background. Kind – she finally learnt to like Heathcliff despite his flaws.
• Edgar Loyal – after marrying Catherine, he stays loyal to her for life. Responsible – keeps his daughter away from any possible threats from Heathcliff.
• Hareton Loving – he finally gets along with Catherine after all the brutality he imposed on her.
• Linton Heathcliff Emasculated – He keeps whimpering all the time and is generally weak. He is easily exploited and manipulated by his father to marry Catherine by force and keep the authority over Thrushcross Grange in the family. He can hardly make a firm decision by himself. Innocent – he saves his life from being poisoned with jealousy by his father.
• Isabella Delusional – she thought that romance talked about in novels is real. Naïve – she is unable to realize she is Mr. Heathcliff’s pawn of revenge and even goes ahead to marry him.
• Earnshaw Caring – He gave Heathcliff a home when he was an orphaned street urchin. He also treated Heathcliff as an equal to the family.

Emily Bronte’s Wuthering Heights is a great reflection of our society today. The book is therefore worth readers’ attention as it has untold potential to enhance our understanding and transformation of society.

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Wuthering Heights Emily Bronte

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Wuthering Heights Essay

Wuthering Heights is a book by Emily Bronte. It is a story of love and revenge, and is set on the Yorkshire moors. Wuthering Heights is often seen as a classic novel, and is widely studied in schools.

Wuthering Heights is a book by Emily Bronte. It was published in 1847, and is generally considered to be her masterpiece. The story is set on the Yorkshire moors, and tells the tale of love and revenge. Wuthering Heights is now seen as a classic novel, and is still studied by students all over the world. Emily Bronte is considered to be one of the greatest English authors of all time.

If you’re looking for a great book to read, then Wuthering Heights is definitely worth a look. It’s a complex story, but it’s well worth the effort. Emily Bronte is an excellent author, and Wuthering Heights is sure to captivate you from beginning to end. So if you’re looking for something exciting and engrossing, be sure to check out Wuthering Heights! You won’t regret it.

Wuthering Heights is the tragic story of Heathcliff, an orphaned boy who becomes obsessed with Catherine Earnshaw and her wealthy guardian.

Wuthering Heights is a book that you can’t help but be pulled into, with its powerful descriptions of the bleak Yorkshire moors and the passionate characters who inhabit them.

Emily Bronte wrote Wuthering Heights when she was just nineteen years old, and the book is considered to be one of the most original and accomplished of all Victorian novels. Wuthering Heights has been banned, admired, dissected, and adapted countless times, and it still remains one of the most loved – and most hated – books in the world. If you’re looking for a book that will keep you engrossed from beginning to end, Wuthering Heights is definitely it. So if you’re ready to be taken on a dark and twisting journey, then buckle up and prepare to read Wuthering Heights.

The love between Catherine and Hareton Hindley’s son, which is a more delicate and kind version of the love between Cathy and Heathcliff, is poised to have a happy conclusion.

Wuthering Heights is a story of love and revenge, and tells the tale of two families, the Earnshaws and the Lintons. The love that develops between young Catherine and Hindley’s son, Hareton, is a paler and gentler version of the love between Cathy and Heathcliff, and it’s poised for a happy ending. However, Heathcliff returns after many years away, seeking revenge on those who have wronged him. Wuthering Heights is a rich and dark novel, full of passion and violence.

Although Heathcliff still loves as fiercely as he once loved Cathy, his actions are now driven by a thirst for vengeance. He resorts to exacting some form of retribution from everyone who, in his opinion, has wronged him: Hindley (and his descendants) for mistreating him, and the Lintons (Edgar and Isabella) for taking Cathy away from him.

Wuthering Heights is a novel of passion, mystery, and revenge. It tells the story of two families, the Earnshaws and the Lintons, who live on opposite sides of Wuthering Heights, an isolated house on the Yorkshire moors. The Earnshaws are a poor family; the Lintons are wealthy landowners.

Heathcliff, an orphan brought up by Hindley Earnshaw, falls in love with Cathy Linton and they run away together. When Cathy returns to Wuthering Heights after four years away, she finds that she is now married to Edgar Linton. Heathcliff plots to destroy his rival and take Cathy back for himself. Wuthering Heights is a story of unrequited love, passion, and revenge.

The novel was written by Emily Bronte, who was born in 1818 and died in 1848, shortly after Wuthering Heights was published. It is one of three novels she wrote (the other two are The Tenant of Wildfell Hall and Agnes Grey), but it is the only one that was published during her lifetime. Wuthering Heights is considered to be a classic of English literature. It has been adapted for stage, television, and film many times.

Some famous adaptations include Wuthering Heights (1939), starring Laurence Olivier and Merle Oberon; Wuthering Heights (1970), starring Timothy Dalton and Anna Calder-Marshall; Wuthering Heights (1992), starring Ralph Fiennes and Juliette Binoche; and Wuthering Heights (2009), a three-part television adaptation starring Tom Hardy and Charlotte Riley.

The central theme of the book is the dualism of good and evil. She has emphasized this area through piety, love, vengeance, and obsession. At first, there appears to be a leaning toward either goodness or evil among various figures.

Heathcliff, for example, represents the dark side of human nature with his anger, jealousy, and thirst for revenge. On the other hand, Catherine Earnshaw is a good person with strong morals. However, as the novel progresses, Heathcliff manages to corrupt Cathy and Edgar Linton, making them just as wicked as he is. Wuthering Heights is a story about the fall of man and how evil can take over when people give in to their desires. Bronte has shown how good can eventually overcome evil if people are willing to fight for it.

Wuthering Heights contains a number of prominent themes, including revenge and justice, which represent significant experiences, personality flaws, and the path of devastation. Heathcliff starts his existence in Wuthering Heights with an open heart but grows enraged after being mistreated by Edgar and Hindley.

Wuthering Heights is a novel about passionate love, cruel revenge, and the power of nature to erode human happiness. Wuthering Heights is a novel full of passion and emotion. The characters in the novel are motivated by intense feelings such as love, hate, jealousy, and vengeance. Emily Bronte has written Wuthering Heights as if it were a poem. This makes the story more powerful and moving.

The language is descriptive and lyrical which helps to set the mood for the reader. Wuthering Heights is a timeless classic that has been enjoyed by readers for many years. It is a must-read for all fans of romance and mystery. Wuthering Heights will leave you with a feeling of sadness and happiness all at the same time. It is a beautiful story that will stay with you long after you have finished reading it.

More Essays

• Examples Of Revenge In Wuthering Heights
• Wuthering Heights
• The Characters of Wuthering Heights
• Wuthering Heights Pros And Cons Essay
• Macbeth And Wuthering Heights
• Wuthering Heights And Atonement Essay
• The novel Wuthering Heights
• Emily Bronte’s Wuthering Heights

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Wuthering Heights

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"Th' Divil's harried off his soul," he cried, "and he may hev' his carcass into t' bargin, for aught I care!"

Wuthering Heights is one of the classic novels of nineteenth century romanticism. As a major work of modern literature it retains its controversial status. What was Emily Brontë's intention? Were her intentions iconoclastic? Were they feminist? Were they Christian or post-Christian? Who are the heroes and the villains in this dark masterpiece? Are there any heroes? Are there any villains?

Study Guide to Wuthering Heights

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ICE Study Guides are constructed to aid the reader of ICE classics to achieve a level of critical and literary appreciation befitting the works themselves.

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This critical edition of Emily Brontë's classic includes new and controversial critical essays by some of the leading lights in contemporary literary scholarship.

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Dedra McDonald Birzer 's contribution demonstrates the how the theme of love (both fallen and sublime) plays out in the novel.

Then Crystal Downing tries to show new sources for the text, and in the process throw light on some things that 'haunt' the tale.

Finally, Theresa M. Kenney carefully traces out the novel's structure and content to get to an understanding of the moral and supernatural vision of Wuthering Heights , which is so often given up as obscure by various commentators. [ Read excerpt. ]

Joseph Pearce situates the reader with the introductory essay.

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Meet the Minds behind the Wuthering Heights Edition

Joseph Pearce

Joseph Pearce is writer in residence at Aquinas College in Nashville, Tennessee, and director of the Aquinas Center for Faith and Culture. He is the editor of the St. Austin Review and the Ignatius Critical Editions series editor. He is the author of three books on Shakespeare, published by Ignatius Press: The Quest for Shakespeare: The Bard of Avon and the Church of Rome (2008), Through Shakespeare's Eyes: Seeing the Catholic Presence in the Plays (2010), and Shakespeare on Love: Seeing the Catholic Presence in Romeo and Juliet (2013). He has also published books on a number of modern literary figures, including Oscar Wilde, G. K. Chesterton, Hilaire Belloc, Roy Campbell, J. R. R. Tolkien, C. S. Lewis, and Alexander Solzhenitsyn.

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Critical essayists, dedra mcdonald birzer.

Dedra McDonald Birzer is Lecturer in History at Hillsdale College in Hillsdale, Michigan. She holds a doctorate in history from the University of New Mexico. Turning her historian's eye toward literature, she has contributed essays to several Ignatius Critical Editions and also teaches and writes about American women who were public intellectuals in the 1920s–1960s.

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Crystal Downing

Crystal Downing received her Ph.D. from the University of California, Santa Barbara, and is Distinguished Professor of English and Film Studies at Messiah College in Pennsylvania. She has published on a wide variety of literary topics, from Shakespeare to the Brontës, and has won both national and international awards for her essays on film. Her three books explore the relationship between Christianity and poststructuralism: Writing Performances (2004); How Postmodernism Serves (My) Faith (2006); and Changing Signs of Truth (2012).

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Theresa M. Kenney

Theresa Kenney received her Ph.D. from Stanford and is former chair of the Department of English at the University of Dallas. She is the author of "Women Are Not Human": A Renaissance Treatise and Responses and several articles on Austen, Dante, and Donne. She is also academic program chairman for the 2011 Annual General Meeting of the Jane Austen Society of North America.

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