Heathcliff And Dogs

First published in 1847, Wuthering Heights was not met with immediate praise. Its depictions of violent characters and harsh realities were uncomfortable to a Victorian audience obsessed with outward appearances and societal orderliness. With time, though, more people were able to appreciate the novel’s beauty and scrutiny of the human psyche, and Wuthering Heights earned its place in the literary canon of classic works. Modern audiences continue to laud the book as the quintessence of good literature because of its complexity and comments on the human condition. Emily Bronte’s use of symmetry and juxtaposition between families, characters, and locations in Wuthering Heights functions not only to create an engaging and beautiful story about love and understanding, but also to explore the elaborate interactions between human suffering and cataclysmic downfall, thus affirming the inherent value of even debased and degraded individuals.

Throughout Wuthering Heights, there are multiple symbols employed to enrich the overall narrative, many of which have a multitude of meanings in order to elevate the text to a higher literary standard. One of the less obvious motifs is books. However, when reviewing their role in both Catherine and Cathy’s lives it is not clear to what degree it would be fair to claim they have a central role in the overall narrative, especially because of the “plurality” and “ambiguity” of each individual instance where the symbolism of books is introduced.

Wuthering Heights by Emily Bronte was published in 1847 and received many contradictory judgements. One main judgement that criticized the novel was how multiple characters can have a change in characterization depending on the reader. Many of the novel's characters, such as Heathcliff, possess positive values, but readers tend to focus on their negative qualities which allows these characters to change. Growing up poor and homeless, Heathcliff’s character changes many times throughout the novel as he grows older and possess negative qualities towards other characters. Later residing as an old, lonely master, Heathcliff’s change in character at the end of Wuthering Heights signifies that he has gone mad and leads to intentions that Heathcliff has not committed suicide, but lost all will after all he has been through.

In Wuthering Heights, dogs are greatly included as a theme within the novel. They represent the different characters and the circumstances the characters are in, usually signifying how restricted and confined their lifestyles are, never leaving their four mile oasis between Wuthering Heights and Thrushcross Grange and rejecting outside influences on their lives. Dogs represent these limits by portraying characters and their personalities, their situations, and how they think of others. In Chapter 1 is the first example of this theme to give a sense of how secluded the residents of Wuthering Heights are from society. Inside the house of Wuthering Heights, Lockwood tries to pet the dogs in the living room which results in them attacking him.

In the novel, “Wuthering Heights”, Emily Bronte uses dogs and other animal images to offer both literal and metaphorical insight of her characters. Bronte’s use of animals portrays the fierce and threatening nature of her characters.

Earnshaw almost forces to conform to the disorderly system, like an ill-fitting puzzle piece. He is raised in a civilization that delegates him as the lowest of the low, and it causes him to develop resentment toward those in power. It is important for the reader to take note of Emily Bronte’s belief in the natural organization of social class – one that morphs in disorder. Therefore, Heathcliff can be viewed as the antagonist as he tries to construct a social class system that puts him at the top of the food chain around the previously natural Wuthering Heights. Rather than forcing himself into the puzzle of Wuthering Heights, he tries to build a new puzzle around himself. When Mr. Earnshaw establishes Heathcliff as his favorite child, Hindley is appalled by this disruption to the status quo. As a result, Hindley tries to gain power for himself by bullying Catherine and Heathcliff into positions lower than him; Heathcliff caused the inhabitants to fight for the social class structure that they had previously ignored. This is shown again when Catherine longs to be part of the upper class, saying “if I marry Linton, I can aid Heathcliff to rise and place him out of my brother’s power” (82). Heathcliff’s application of a new social structure does not help him have power over

In Emily Bronte’s novel Wuthering Heights, we are introduced to the mysterious and enigmatic character of Heathcliff. Throughout the novel he is hellbent on exacting his revenge on those who have caused him the most pain in his life; as the story continues, this lust for revenge pushes him closer and closer to the point of madness. Without having read the book it is easy for a reader to write this character off as a villain, however, Bronte artfully portrays his character, his backstory, and his motivations in a way that elicits echoes of sympathy.

Emily Brontë uses her novel Wuthering Heights to showcase how the constraints of one’s class, while only enforced by will, can take control over one’s autonomy and desires. Brontë accomplishes this in her depiction of the characters Catherine Earnshaw Linton and Heathcliff. Catherine begins the novel as a tomboyish girl, with no intentions of becoming a “lady” as defined by the society of her time. She only begins to want to conform to feminine roles when she is introduced to the expectations of women by the Lintons, causing her to begin to abandon her own independence in favor of conforming to societal norms. In doing so, she not only limits her own life, but spurns Heathcliff into a rage and resolution that limits his life also.

The gothic and often disturbing Wuthering Heights is Emily Bronte’s classic novel that contains undeniably powerful writing that created her timeless love story. Andrea Arnold transformed her masterpiece into a cinematic rendition to recreate the wild and passionate story of the deep and destructive love between Catherine Earnshaw and Heathcliff.

Love is a strong attachment between two lovers and revenge is a strong conflict between two rivals. In the novel Wuthering Heights, Emily Bronte uses setting to establish contrast, to intensify conflict, and to develop character. The people and events of Wuthering Heights share a dramatic conflict. Thus, Bronte focuses on the evil eye of Heathcliff's obsessive and perpetual love with Catherine, and his enduring revenge to those who forced him and Catherine apart. The author expresses the conflict of Wuthering Heights with great intensity. Hence, she portrays a combination of crucial issues of romance and money, hate and power, and lastly

In Emily Bronte’s Wuthering Heights, readers are introduced to a variety of conflicts and clashing characteristics. Even though this is common in many novels, many of these conflicts take place within one character then progress into external conflicts between characters. For example what caused Catherine to pick Edgar over Heathcliff? Did she love Edgar more? Or was her love for him forged by her superego as defined in Sigmund Freud’s The Interpretation of Dreams? Even the character herself is unsure of her true desires, which leads to the major conflicts within her, others, and between characters. This is just one of the numerous examples of issues which ensue throughout the course of this novel.

Once Lockwood has been granted permission, grudgingly by Heathcliff, he enters his house. He encounters an incident with some of Heathcliff’s dogs, although Heathcliff did warn him about them, to which he pulls faces provoking them to attack him, to which neither Heathcliff or the servant Joseph seems to bother about. Fortunately for Lockwood, a female servant comes and shoos the dogs away. Although Lockwood is not injured, he appears to sulk in a childish manner, resulting in Healthcliff making up for this incident when he sees how angry Lockwood is.

Without the care of their mothers the children find themselves in a fierce struggle for survival against activity hostile adults who seems obsessed with the desire to kill or maim them. The novel plays a multitude of insistent variations of ghastly theme of infanticide. The theme infanticide is amplified symbolically in the course of the novel, the killing of helpless and delicate animals. On one occasion Isabella knocks over Hareton who was hanging a litter of puppies from a chair-back. By hanging her little pet springer, Heathcliff shows Isabella what kind of man he is. To torture to deaths cats whose claws and teeth have been pulled was the favourite game of Linton Heathcliff. In Wuthering Heights, the wild eruptions of cruelty and violence are so vivid that one tends not to notice how frequently pain is inflicted just as a matter of

Like the beginnings of most novels, Wuthering Heights, by Emily Bronte, starts it’s winding, dark tale with a time filled to the brim with the joyous adventures of childhood. Our main characters, Catherine and Heathcliff, begin their story as wild kids exploring the wilder moors of Yorkshire in the late 1700s, and as they reach adolescence, their growing feelings for each other are torn apart by misfortune and cruelty. As time passes and they begin to see the world for how it truly is, they are forced to address the afflictions within them and around them. In a disturbing tale twisted by loss, heartbreak, and devastation, Catherine and Heathcliff must face the harsh reality that they have created for themselves in their strife of greed and

Every person has a background story that makes them who they are today. In Emily Bronte’s novel, Wuthering Heights, she demonstrates how anger, hatred, and revenge all create enemies and eventually the character’s downfall. Being an outsider to the Earnshaw family from the very beginning, Heathcliff’s heritage and peculiar disappearance within the book shape his relationships throughout the novel why he might despise the residents of both estates.