The Narrative Structure of Wuthering Heights and Heart of Darkness

In Wuthering Heights, Emily Bronte uses Mr. Lockwood to show that language is not enough to tell the truth and understand the other person. When Mr. Lockwood greets Heathcliff on their first encounter, Lockwood misjudges Heathcliff. He writes, “Mr. Heathcliff and I are such a suitable pair to divide the desolation between us” (Bronte 1). Also he describes Heathcliff as “a capital fellow” (Bronte 1).

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

The novel concluded with these important final words about human beings. These final words relate to the theme of the book which is the significance of your past affects your future dreams or goals. This theme is represented by the “green light”. He explains how humans’ struggle to achieve their goals or dreams because they try to re-create the past and are unable to move beyond the past by stating “the orgastic future that year by year recedes before us”. He then explains that people cannot escape their dream or goal and so they continue to move towards the green light and struggle to make their dreams come true (It eluded us then, but that’s no matter- tomorrow we will run faster, stretch out our arms farther”). The people would continue

Simply turn on the TV, and on any news channel the viewer is sure to hear reports regarding some issue currently present in society. Most common are stories covering crime, violence, and political scandals. What does not receive as much publicity though, is the abuse and neglect inflicted on children across the country. In literature, characters that experience maltreatment as children tend to fit the “underdog” mold, for they are unable to stand against the wrongs dealt unto them until a later time or event when they are better suited to fight back; thereby gaining the reader’s sympathy and vote for eventual victory over their antagonist. In Wuthering Heights and The Poisonwood Bible, the victimized children lacked outside support from other members of their respective communities. The same does not have to be true in the U.S. Americans have the power to make a difference in the prevalence of child maltreatment, and understanding the issue is the first step. Research and awareness of child abuse and neglect has increased in the past few decades; however, children are still suffering in today’s society. The consequences of abuse and neglect affect a wide range of categories from health and physical development; to intellectual and cognitive development; to emotional and psychological development; and social and behavioral development. In many instances, more than one type of abuse or neglect is involved, resulting in

Emily Bronte’s Wuthering Heights display of cultural and physical features of an environment affecting one’s character and moral traits is showcased through the first Catherine’s development throughout the novel. Catherine is forced to “adopt a double character”, as she lives as a rebellious, passionate woman on the turbulent Wuthering Heights, while behaving politely and courtly on the elegant Thrushcross Grange(Bronte, 48). Each of these environments also contains a love interest of Catherine’s, each man parallel with the characteristics of their environments: Heathcliff, the passionate and destructive, residing in Wuthering Heights, while the civilized and gentle Edgar inhabits Thrushcross Grange. Catherine’s development in character due to her setting significantly contributes to the theme that pursuing passionate love is dangerous, such as the love shared by Heathcliff and Catherine.

We can also see this influence on Heathcliff’s person in contrast with Edgar Lindon, when Nellie describes the differences between the two men ‘it was like exchanging a bleak, hilly, coal country for a beautiful fertile valley; and his voice and greeting were as opposite as his aspect."

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.

Wuthering Heights, a novel written by Emily Brontë is a passionate story of the intense love between Heathcliff and Catherine Earnshaw. Written in the Victorian Era where social class played a major role in determining one’s position in society, Brontë utilizes mirroring characters to illustrate the parallelism of multiple characters to present the idea that one’s identity and the choices they make mirror their social standing.

The primary topic, which is the theme discussed in Wuthering Heights, is on “natural supernaturalism.” In Wuthering Heights, there seems to be this idea that the novel focuses on metaphysics. However, the author does also minorly note other primary themes, such as “human love, its possibilities, limitations, and consequences.” Moreover, the writer notes that there is some similarity in style of Bronte’s in comparison to that of the poets Wordsworth and Coleridge -- as in some of Wordsworth and Coleridge’s works involve nature, as well as supernaturalism. Essentially, the character/narrator Lockwood -- in Wuthering Heights -- is the individual in where the themes of “natural supernaturalism” can be present. It is disclosed that this character had various dreams, in which Williams seem to interpret as involving some sorts of supernatural elements. Williams also claims that the closing words and conclusion of Lockwood’s narration suggest and emphasize a link to the idea of natural

Throughout the compelling conspiracy of Wuthering Heights, Emily Brontë, creates an inhospitable and ominous estate, known as the Heights, that mirrors the savage inhabitants’ demeanor, such as the characters, Joseph or Hindley, but it is for most part apparent with Mr. Heathcliff. In the exposition, the reader gets a clear idea that the Heights is a dim, depressing, miserable residence when Mr. Lockwood first arrives there, and he begins to describes the Heights by observing the terrain; and he thinks to himself, “[O]ne may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs… [and] by a range of gaunt thorns all stretching their limbs one way, as if craving alms of sun” (4 Emily Brontë d).

The description of the setting of Wuthering Heights is described so thoroughly, which emphasizes the gothic tradition in this book. It is 1801 and Mr. Lockwood, a new tenant at Thrushcross Grange, writes in his diary that he has rented a house in the Yorkshire countryside, or New England. After he arrived there, he visits his landlord, Mr. Heathcliff. Heathcliff lives

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.

Charlotte Bronte’s Jane Eyre emerges with a unique voice in the Victorian period for the work posits itself as a sentimental novel; however, it deliberately becomes unable to fulfill the genre, and then, it creates an altogether divergent novel that demonstrates its superiority by adding depth of structure in narration and character portrayal. Joan D. Peters’ essay, Finding a Voice: Towards a Woman’s Discourse of Dialogue in the Narration of Jane Eyre positions Gerard Genette’s theory of convergence, which is that the movement of the fiction towards a confluence of protagonist and narrator, is limited as the argument does not fully flesh out the parodies that Charlotte Bronte incorporates into her work. I will argue that in the novel

  The Jewel in the Crown, by Paul Scott, and Wuthering Heights, by Emily Bronte', are romantic tragedies which share many common elements. Although written in two vastly different time periods, the shared elements reveal the continuity of romantic tragedies over time. Wuthering Heights, a 19th century realistic fiction, shares the same kind of passionate, violent and emotional characters as The Jewel in the Crown, a post colonial modernist fiction. Both stories contain a love triangle which subsequently end in death.

One insistent feature of his language in the initial chapters, is the frequent use of guesswork; "I suppose", "perhaps" and "I conjectured." The effect of this style is to focus our attention on the narration itself, as Lockwood struggles to translate his impressions for us. Brontës use of repeated guesswork and hesitancy allows us to remember that the novel is being relayed to us by a struggling, foreign observer. Due to this uncertainty, only a small portion of the story filters through to the reader, and we may expect that the effect of the narrative is rather economical. `Nicolas Marsh' however argues differently in his essay `Analysing Wuthering Heights', as he claims that this lack of information paradoxically has the opposite effect, and that it creates an unlimited, obscured environment for the story itself to be encompassed within.