The Narrative Voice of Middlemarch and Wuthering Heights

Creating a haven from the cruel outside world, families ideally provide protection and support for each of their members. In Emily Brontë’s Wuthering Heights, however, bitterness grows between the Earnshaws and the Lintons. Within these two families, siblings rival for power and parents fail to fulfill their roles as caregivers. The intertwining relationships of the Earnshaws and the Lintons are marked by physical abuse, degradation, and emotional negligence. These reduce each of the family members’ life to a lonely and meaningless journey though the cold and misty moors.

In Middlemarch, George Eliot utilizes several literary devices to portray her two characters and their complex relationship that reveals their marriage is dominated by the husband who objectifies his wife into silence. Throughout the passage, Eliot makes it clear that Rosamond and Tertius Lydgate are in an uneven relationship, considering Tertius refuses to listen to his wife who seems to only have his best interest at heart, yet still, he continues to yell at her for thinking she knows what is best for him. With the help of details, Tertius’s critical tone, and imagery, Eliot is able to showcase how complex their relationship is when it comes to Rosamond giving her opinions and ideas, just to be casted to the side.

A narrator, who is without a name, tells of his first hand experiences throughout the story. This is in contrast to ‘Miss Brill’ in which narrative is delivered in the third person, with the use of free indirect speech to depict the story and portray the characters. By Wells selecting a first person narrative he draws the reader closer into the character’s mind set. This gives Wells the ability to convey the primary characters full spectrum of emotional thought, from open mindedness to the conflict and fear within him. First narrative provides the reader insight to thoughts and observations therefore adding suspense of the unknowing into the gothic style.

In Wuthering Heights, Emily Bronte uses the setting of the English Moors, a setting she is familiar with, to place two manors, Wuthering Heights and Thrushcross Grange. The first symbolizes man's dark side while the latter symbolizes an artificial utopia. This 19th century setting allows the reader to see the destructive nature of love when one loves the wrong person.

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

However, despite changes, the literary world remained predominantly male, and women writers not encouraged, or taken seriously. Consequently, to counteract this Emily Bronte published her novel Wuthering Heights, under the male pseudonym of Ellis Bell. Wuthering Heights is the story of domesticity, obsession, and elemental divided passion between the intertwined homes of the Earnshaw’s residing at the rural farmhouse Wuthering Heights, and the Linton family of the more genteel Thrushcross Grange. This essay will discuss how the language and narrative voices established a structural pattern of the novel, and how these differing voices had a dramatic effect on the interpretation of the overall story.

"Keeping One's Distance: Irony and Doubling in" Wuthering Heights"." Studies in the Novel 24.3 (1992): 242-250.

Human beings can be truly deranged creatures. Often times they are seen as elevating and putting themselves on a pedestal. They will treat people who are not the same as them as they are garbage and worthless. Although it is not their fault to simply put it, it is human nature. More specifically the ugliness of human nature. The complex characters in Wuthering Heights are guilty of this. Their circumstances drive them to do unthinkable things which unfortunately have drastic outcomes. Emily Bronte’s Wuthering Heights is a beautifully written novel that shows the ugliness of human nature as seen through the depiction of toxic relationships, displaying revenge and vengeance in the differentiation of social class.

As Lockwood lays to rest in the third chapter of Emily Brontë’s Wuthering Heights, he is wrought with a dream of a fictional Reverend Jabez Branderham and his surplus of sins. The dream almost reads as incomprehensible at first glance, especially when wedged between Lockwood’s visions of Catherine Earnshaw, but the dream holds clout in the overarching tale of Wuthering Heights, especially when taking its moral implications into consideration. To implement a biblical allusion in one’s text requires the understanding that, no matter what one intends to do with the material, it will remain morally-charged nonetheless. The material can be contorted or figured into a new message altogether, but some moral proposition will certainly remain. In the case of Lockwood’s dream, Brontë’s allusion to Peter and his interest in forgiveness are contorted to address what happens when the threshold of forgiveness is surpassed. Furthermore, the dream does not grapple with the power of forgiveness, but with the level of desperate exasperation one reaches after prolonged anguish. It is through the contortion of such a biblical allusion that Lockwood is met with what is essentially a warning against staying at either Thrushcross Grange or Wuthering Heights—a warning which he ultimately disregards, thus leading to his exposure to the litany of terrors which exist in the story of Wuthering Heights.

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.

Gothic literature includes elements of style that is usually portrayed in tales and deals with horror, despair, the grotesque, and mysteries. In the novel Wuthering Heights by Emily Bronte, there are many elements of gothic literature that is found throughout the book. The term gothic is very broad in literature, and gothic can mean many different things from characteristics of people, feelings and reactions of a specific setting, mood, actions that happen being people, and so much more. All of this thrived in the 19th century. Gothic is categorized by an emphasis on the dark, gloomy, and mysterious. Ideas such as magic, hidden passages, wind, ghosts, and other supernatural elements, love, etc were all elements in the Gothic movement during the 19th century. Specifically, the descriptions of the settings, both outside and inside, in the novel, the actions of the main protagonists in the novel, and the love between Catherine and Heathcliff in Wuthering Heights all add on to this idea of a gothic literature or tradition.

In her novel Wuthering Heights, Emily Brontë uses a formal style of writing to portray the language of those used during the early 1800s. Throughout the majority of the novel, Nelly Dean is telling the story of how Wuthering Heights came to be the place that it currently is. Throughout Dean’s narration, characters are voiced differently due to their role in society. An example of this is shown when Brontë would use fragments of words to represent the speech of Hareton, one of the servants of Wuthering Heights. In contrast, Catherine, being well educated, would use sophisticated grammar and an extensive vocabulary whenever she spoke. Heathcliff was revealed as a two-sided character in this reading. On one hand, the author would use negative

The Suffering of the Women in Wuthering Heights It appears that Catherine's expectations are unrealistic especially when placed in the historical context. The novel is written during the Victorian era where the role of women in relation to marriage was that they were to be obedient, disciplined and faithful to their husband. Catherine does not fulfil any of these roles in the long term. Firstly, she marries Edgar for social and financial benefits.

What makes a person choose a one-sided relationship? Obsession? Love? Why would anyone want to torture themselves knowing that their partner can never truly love them? What is insanity and why is it so popular among the gothic community? Wuthering Heights is a classic gothic novel by English author Emily Brontë. This novel deals with the passionate and ultimately doomed love of Catherine Earnshaw and the gypsy orphan Heathcliff and how their masochistic love destroyed themselves and the lives of the people they touched. On the other hand, there is the Twilight saga by contemporary young adult author, Stephanie Meyer. She brought forth a new kind of vampire who is not destroyed by sunlight but instead is transformed into a mesmerizing

The presentation of childhood is a theme that runs through two generations with the novel beginning to reveal the childhood of Catherine and Hindley Earnshaw, and with the arrival of the young Liverpudlian orphan, Heathcliff. In chapter four, Brontë presents Heathcliff’s bulling and abuse at the hands of Hindley as he grows increasingly jealous of Heathcliff for Mr. Earnshaw, his father, has favoured Heathcliff over his own son, “my arm, which is black to the shoulder” the pejorative modifier ‘black’ portrays dark and gothic associations but also shows the extent of the abuse that Heathcliff as a child suffered from his adopted brother. It is this abuse in childhood that shapes Heathcliff’s attitudes towards Hindley and his sadistic