Wuthering heights analysis

Since its publication, Wuthering Heights has intrigued its readers; a love story gone wrong, twisted by vengeance and heartbreak. Many important factors of the novel are displayed in the portion of the novel narrated by Ellen. The passage in Wuthering Heights in which Catherine Linton’s funeral is described is vital in explaining important relationships in the novel, particularly the relationship between Heathcliff and Edgar Linton.

When Heathcliff returns three years later, his love for Catherine motivates him to enact revenge upon all those who separated him from her. Since he last saw Catherine, he has “fought through a bitter life”; he “struggled only for [her]” (Brontë 71). Nelly observes a “half-civilized ferocity” in Heathcliff’s brows (Brontë 70); she views him as “an evil beast…waiting his time to spring and destroy” (Brontë 79). Heathcliff’s obsessive love for Catherine becomes a menacing threat. Heathcliff reproaches Catherine because she “treated [him]

Upon hindsight following the two novels, Wuthering Heights by Emily Bronte and Mary Shelly’s Frankenstein, one would label the monster and Heathcliff to be nothing short of villainous characters. Throughout each individual novel the two leads perform heinous actions that should leave readers feeling repulsed, and with no ounce of sympathy towards the principal characters; nonetheless, it is impossible not to. Heathcliff and the monster are not evil but rather characters to sympathize, both are the products of their environment and correspondingly, although for divergent reasons, are motivated by the supereminent emotions—love and hate.

‘That is not my Heathcliff. I shall love mine yet; and take him with me: he’s in my soul.’ (Page 137)

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to descriptions of Heathcliff: his ‘savage’ face has ‘brows lowering, the eyes deep-set and singular with black eyes withdrawn so suspiciously under their brow’ (I, 10).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.

In this chapter, we see that Catherine has changed drastically from being a wild savage to a young mannered lady. Shockingly, we can see the distinctive difference between Heathcliff and Catherine's character. They were once the same, but this chapter serves as the platform to highlight the contrasting differences between these lovers. On one hand, one can argue that it develops their relationship immensely.

Catherine’s and Heathcliff’s relationship commences with both participants “... [promising each other] to grow up as rude as savages”

Emily Bronte really does do good job bringing in love, passion, longing, and death and also the afterlife, which has a way of linking them all rolled up into one, and creates the excellent novel that we all refer to in this current time as Wuthering Heights. Even though Catherine and Heathcliff's desire for each other did appear to be the attraction of Wuthering Heights, provided that it is greater and more lasting than any other sentiment that had really put on display throughout the entire novel, Bronte also does a great job with showing the provocative theme of demise and the afterlife in her novel, conferring to the disapproval of Robert M. Polhemus. Polhemus composes a criticism that goes all the way back to the early 1990s era and it was titled, "Love and Death in Wuthering Heights", and in this he makes a huge discussion of death, love, and the afterlife, and then clarifies how all three are connected.

To begin Catherine attempts to find heaven as way to soothe her emotion, but discovers her heart belongs to something else. That something else is Heathcliff, who also finds life on earth a tortuous and difficult

Emily Bronte's Wuthering Heights and "Remembrance" appear to be woven together. "Remembrance" seems, by all accounts, to be a to a greater extent a speculation, while Wuthering Heights is a more extreme particular adoration story. In the last section and last stanza, the emotions that Heathcliff and the speaker of "Remembrance" have are verging on indistinguishable with just their responses to these sentiments appear to vary.

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

Emily Bronte’s portrayal of Heathcliff presents him to readers “as dark almost as if it came from the devil’ and a ‘dirty, ragged, black-haired child.” (Emily Bronte) Although her suggestive description indicates Heathcliff is black, the author’s lack of a definitive depiction evokes ambiguity. Bronte purposefully intrigues readers with her absence of certainty by selecting specific language and creating a semantic field of the colour black. Bronte resurfaces the reader’s assumptions

In Emily Brontё’s Wuthering Heights gothic elements such as recurring deaths, and the ruins of Wuthering Heights work together to further the plot and support the theme, nature vs. nurture.

The novel Wuthering Heights begins with an outsider, Mr. Lockwood, paying a visit to his landlord, Mr. Heathcliff. At first Lockwood, who is seeking solitude “from the stir of society”(1), believes that Heathcliff is something of a soulmate: “my heart warmed to him when I beheld his black eyes withdraw so suspiciously under their brows”(1), but by the end of Chapter II, Lockwood says, “I no longer felt inclined to call Heathcliff a capital fellow” (8). The Heathcliff of 1801, the year the novel begins, is the owner of Thrushcross Grange and Wuthering Heights, but he chooses to live in the remote dwelling shaped by “atmospheric tumult”(2) with an odd assortment of housemates: the family heir Hareton Earnshaw, his widowed daughter-in-law Catherine, the “scandalous old hypocrite” (10) Joseph, and the housekeeper Zillah. How did Heathcliff come to be the person who we meet at the beginning of the novel? In Chapters IV-VII of Wuthering Heights, Nelly Dean tells Mr. Lockwood about Heathcliff’s upbringing in the Earnshaw household. Several of the relationships and environmental influences described in Chapters IV-VII of Wuthering Heights provide significant clues to the character of Heathcliff that Lockwood meets in the opening pages of the novel.

The novel ‘Wuthering Heights’ (1847) by Emily Brontë and the film adaptation ‘Wuthering Heights’ (2011) by Andrea Arnold each convey respective values and perspectives reflective of the contrasting contexts and forms of each text. The novel, set in the Romantic period, is centred around two families living on the isolated, Yorkshire moors, and the explosive interactions between them. The concept of confinement contrasts against the freedom of nature throughout the novel. Nature is another key theme and a fundamental aspect of the Romantic period, used to present ideas such as rebellion and freedom. Finally, passion within human relationships is thoroughly explored through Catherine and Heathcliff’s relationship within the novel. However, as the film adaptation is a product of a contemporary post-feminist, post-colonial time period, these themes can now be explored through lenses such as racial discrimination, feminism, and human connection.