Who Is Lockwood As A Hero

The complex and furious creation of Emily Brontë, Wuthering Heights is a powerful novel that fiercely combines many of the greatest themes in literature, such as love and its intricacies, revenge and the its terrible effects, and the contrasts between nature and society. One of the most prevalent themes in this celebrated work is that of crime and punishment, or sin and retribution. One character in particular, Heathcliff, stands apart as a conduit for both of these, es-pecially his sins. His past crimes, both worldly and metaphysical, coincide with his punishments.

Wuthering Heights is a novel whose main character is said to have a double significance. He is said to be both the dispossessed and the dispossessor, victim of class hatred and arch – exploiter, he simultaneously occupies the roles of working class outsider and brutal capitalist. Heathcliff has all these characteristics because of his experiences. He is a character moulded by his past.

Wuthering Heights engages Gothic elements to strengthen the motif of entrapment, including a framed narrative, and the use of locks and closed doors. Emily Bronte’s application of a framed narrative in Wuthering Heights emphasizes the emotional and physical smothering that Catherine experiences. The usage of a story within a story, as told by multiple characters, creates confusion and chaos both internally and between characters. The internal conflicts of Catherine emphasize the power of her emotions and create a feeling of suffocation and claustrophobia. According to Catherine, her chamber, settled deep into the labyrinth of Thrushcross Grange, is a “shattered prison” (116). Confinement is partly induced by the framed narrative, however, other gothic devices also play a key role in Catherine’s deterioration.

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.

Yet, not only are the images of Wuthering Heights similar to that of Heathcliff, but both are described using similar adjectives. Wuthering Heights is illustrated as a hostile ‘grotesque’ dwelling, with ’strong narrow windows, deeply set in the walls, the corners defended with large, jutting stones’ (I, 1). This is similar to descriptions of Heathcliff: his ‘savage’ face has ‘brows lowering, the eyes deep-set and singular with black eyes withdrawn so suspiciously under their brow’ (I, 10). Heathcliff’s temperament is therefore exemplified and detailed through the setting in which he is shown, showing the relationship between the character and his setting.

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.

    Critics analyze and examine Wuthering Heights to obtain a deeper understanding of the message that Emily Bronte wants to convey. By focusing on the different literary elements of fiction used in the novel, readers are better able to understand how the author successfully uses theme, characters, and setting to create a very controversial novel in which the reader is torn between opposite conditions of love and hate, good and evil, revenge and forgiveness in  Thrushcross Grange and Wuthering Heights. There is no doubt that the use of conflictive characters such as Catherine Earnshaw, Heathcliff, and Edgar, with their interactions in the two different settings creates an

When Lockwood needs to stay at the property because of a blizzard an apprehensive and morose atmosphere has already been set. For example, during Lockwood’s stay at the manor the, “sky and hills mingled in one bitter whirl of wind and suffocating snow” (E. Brontë 338). The weather’s description gives a mood of apprehensiveness simply, because Lockwood must now stay with the strange people of Wuthering Heights. Emily Brontë uses supernatural elements in conjunction with the natural occurrence's outside to create a more ominous tone for the novel. After Lockwood reaches outside the window and clasps an, “ice-cold hand” (E. Brontë 344), a fearful and frightened tone is ascertained. In using this tone Wuthering Heights creates a mystery that needs solving. Moreover, it establishes an atmosphere that is almost like a ghost story attributing to the combination of natural and supernatural

The story is written as a diary for Mr. Lockwood, which means it is written in first person. In chapter one, Mr. Lockwood goes to Wuthering Heights after a few days new of being a tenant at Thrushcross Grange to visit his landlord, Mr. Heathcliff. “Thrush Grange is my own sir, ‘he interrupted, wincing. ‘I should not allow anyone to inconvenience me, if I could hinder it- walk in!” (pg. 368). Mr. Heathcliff does not go out of him way to be pleasant to Lockwood as you can see from the way he talked to him in the quote. He even nods his head when Lockwood ask if he is Mr. Heathcliff. “Wuthering’ being significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather” (pg. 369). This quote tells about Wuthering and how it is used to describe rough winds that blow. The way this story is wrote compares to Emma in that they are both hard for me to comprehend what I am reading. I have to go back over it a few times to make sure I get the true meaning and understand what the story is

Heathcliff was the primary character that drove the plot of Wuthering Heights. The novel began and ended with him and his vindictive actions are most important to the progression of the story. He was unique from the other characters in the way that he looked, with “black eyes [withdrawn] so suspiciously under their brows...[and] dirty, ragged, black hair” (Bronte 3, 37). Mr. Earnshaw had generously brought this gipsy boy when he returned from a trip, picking him up from the miserable factory towns occupied by the lower classes in 1840. Earnshaw’s family did not receive this boy well, so Heathcliff was often characterized as a demon, epitomizing the equivocal attitude of the upper class, who at times felt charitable to and at times afraid of the lower class.

Much of the charm and allure of Wuthering Heights stems from Heathcliff, one of the main characters and the destined lover of Catherine Earnshaw. He is passionate and short-tempered, and he is also very prideful of himself despite the fact that he was considered a “dirty, ragged, black-haired child” and a “gipsy brat” (Bronte 37). Heathcliff is insecure as a young boy. At first, Heathcliff believes himself to be inferior to Edgar Linton, a light-skinned, dapper boy that was his rival for Catherine Earnshaw’s love. He wishes that he had “light hair and a fair skin, and was dressed and behaved as well, and had a chance of being as rich as [Edgar Linton] [would] be,” (Bronte 56).

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.

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.

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.

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