Wuthering Heights characteristics of the heroes. Features of the composition of Emily Bronte's novel "Wuthering Heights"
The views of Charlotte's sister - Emilia Bronte - and her work, ideas are original, but in many ways echo the work of Charlotte.
In this part of the work we will cover in more detail the work of another of the Bronte sisters - Emilia Bronte. In her novel, she, like Charlotte, brought out a new heroine and in her own way reflected the position of a woman in her contemporary world.
Emilia Brontë began with poetry. The heroes of Emilia Brontë's poems often find themselves in the position of homeless wanderers. The fate of women is especially sad: they lose their loved ones, their home, their freedom.
In the chest of Emilia Brontë lived a seditious spirit that related her to the best poets English progressive romanticism - Byron and Shelley. Far from big world walls of the parsonage, she feverishly wrote about prisons, torture, wars, uprisings, about her thirst for happiness, justice and freedom.
The writer dreams of carrying a free soul and heart without chains through life and death.
Fame came to Emilia Brontë essentially late, shortly before her death, although she was not yet thirty years old.
Emilia knew that she was dying from a disease against which the medicine of her time was powerless. She met her death with calm stoncism. Perhaps life was painful for her, and that is why she refused the help of doctors. She got out of bed and worked until the last day.
“She will no longer have to shiver from the brutal cold and harsh wind. Emilia no longer feels them...,” Charlotte wrote to her friend. We do not know whether Charlotte was thinking about the winter winds of the Yorkshire hills when she wrote these lines, or whether she had in mind the cold indifference of the world of calculation and selfishness that surrounded them.
“She died when the future promised so much,” Charlotte wrote. And I was wrong. This time has already passed. But there was a time that promised unusually much, so much that Emily’s works seem to be only a small part of what was not realized, despite all their significance. In fact, Emily accomplished much of what it promised. It is very tempting to wonder how much more she would have been able to accomplish and - what is much more important - Emily would have been able to maintain peace of mind if she had not given in to Charlotte and refused to go to the Brussels boarding house. Perhaps it is not so reasonable to see the Brussels episode as the decisive factor in Emily's misfortunes. Perhaps there is something superstitious in this. However, in any case, Brussels did not seem to bring anything good, although Charlotte, always acting with the best intentions, undoubtedly saw no connection between Emily’s stay in Brussels at her insistence and her daily helpless vigil near her dying sister. And in the end, even if Emily's genius had bloomed longer, she would still have faced an early death, like all the Brontë children, who, as Emily once wrote, were “all in perfect health.”
The novels of the Bronte sisters stood out sharply for their freshness and originality in the mass of fashionable, instructive and decorous novels with which countless numbers of English novelists annually flood the literary market. And if the idea of these novels was the same instructive and decorous, then the form in which it was clothed struck with courage and reality, which the public was not used to meeting, especially in women's novels.
It has been written about the work of Charlotte and Emilia Brontë great amount studies, monographs, biographies. Bourgeois literary critics often try to place Wuthering Heights above the works of the classics critical realism on the grounds that Emilia Brontë supposedly revealed the "eternal" enduring impulses human soul, who are in no way connected with reality, attribute mysticism to the novel and call it “pure poetry.” “Wuthering Heights” was called “the most romantic of novels” (W. Pater), “a devilish book that united all the strongest female inclinations,” one of the most best novels“in terms of the strength and penetration of the style” (D.G. Rosseti), “one of the manifestos of the English genius... a novel that develops into poetry” (D. Fox).
Ralph Fox, one of the English progressive critics, gave a profound analysis of Wuthering Heights in his work The Novel and the People. Considering this work “one of the most extraordinary books ever created by human genius,” R. Fox emphasizes its organic connection with his era: it is “a cry of desperate suffering, torn from Emilia’s chest by life itself. I created this book English life mid-Victorian period."
2.3. "Wuthering Heights" by Emilia Brontë. Heroines in the novel
The plot of the novel Wuthering Heights is partly inspired by family legends. Emilia's father left Ireland long ago, but he was still connected with his native people by those fairy tales and legends that he treasured in his memory and told his daughters on long winter evenings. He also talked about his ancestors; Among these family stories there was one about some mysterious foundling who, out of revenge for the humiliations he experienced in childhood, ruined the family that raised him. But it is not only this image, which apparently served as the prototype for Heathclear, that makes Emilia’s book similar to old Irish legends. In the harsh coloring of the novel, in the dark fantasy of some of its episodes, the breath of Ireland is felt, tales of demons and fairies come to life - these poetic dreams of an offended and proud people.
Wuthering Heights depicts England as it was in 1847. The people described in the novel live not in a fictitious, unearthly land, but in Yorkshire. Heathcliff was born not on the pages of Byron's works, but in the slums of Liverpool. Nellie, Joseph and Hareton speak the language of the Yorkshire natives. The feelings and passions revealed by Emilia Brontë with such stunning power in the novel are played out in the most real and ordinary settings. It is no coincidence that the novel Wuthering Heights begins with the date 1801, and the events described in it take place approximately over the last forty years of the 18th century.
The novel Wuthering Heights was at one time subjected to fierce attacks by reactionary critics. They were outraged by the dissimilarity of this book with the standard Victorian novels - the complete absence of intrusive moralizing, the bold depiction of characters and passions, complex human relationships.
The action of the novel takes place in the wilds of Yorkshire - on the Wuthering Heights farm of the Earnshaw squires and on the estate of the hereditary Judge Linton, Starling Grange. For for long years these families were good neighbors until fate confronted them with a “stranger” - Heathcliff, who brought them ruin and death. Having reflected in the novel a very real process of redistribution of property, the writer romanticized its cause, giving it a form of revenge that was understandable to herself for desecrated love, for humiliated human dignity.
Wuthering Heights depicts life in 1847. With all the lightness and ease of the narrative, with all the natural complexity of the family ties between the characters, “Wuthering Heights” is a very skillfully constructed book in which the most carefully thought out technical problems compositions.
The central core of the work is the story of the relationship between Catherine and Heathcliff. This story goes through four stages. The first part, ending with a visit to Starling Grange, tells the story of the birth of a spiritual connection between Catherine and Heathcliff and their joint rebellion against Hindley and the regime he established at Wuthering Heights. The second part deals with Catherine's betrayal of Heathcliff - this part ends with Catherine's death. The third part tells about Heathcliff's revenge, and the final part talks about the change that happened to Heathcliff and his death. Even in the last two parts, which take place after Catherine's death, the relationship between Catherine and Heathcliff is still the dominant theme that underlies everything that happens.
The work was added to the site website: 2016-03-30">Introduction................................................... ........................................................ .......">3
">I History of the creation of the novel.................................................... ..............................4
">1.1 The Brontë sisters.................................................. ............................................4
">1.2 The riddle of “Wuthering Heights” .................................................. ....................6
">1.3 Heroes of Wuthering Heights .................................................. ......................8
">II Hierarchy of feelings in Emily Brontë's novel “Wuthering Heights” ........10
">2.1 The theme of love in the novel “Wuthering Heights” .................................................... 10
">2.2 Theme of revenge.................................................... ................................................12
">2.3 Theme of triumphant love.................................................... ...................14
">2.4 Romantic and realistic elements in the novel...................................15
">2.5 Explanations of important quotes from the novel.................................................. ..16
">ІІІ Stylistics and composition of the novel.................................................... ............20
">3.1 Language and stylistic features.........................................20
">3.2 Compositional techniques....................................................................22
">Conclusion........................................................ ........................................................ .25
">Bibliography................................................................... .....................................26
">Introduction
">Emily Brontë's only novel, Wuthering Heights, published in 1847 under the pseudonym Ellis Bell is one of the greatest and mysterious works world literature. The heather moors, romantically described in the book, became a symbol of the novel and the main background that accompanies the entire plot line from beginning to end. This study is relevant because success for this novel came much later, in the mid-20th century, and this novel is quite popular today.
">Goal: to reveal the hierarchy of feelings in Emily Bronte's novel "Wuthering Heights"
">Research objectives:
"> consider the history of the creation of the novel
"> reveal the hierarchy of feelings in the novel
"> study the style and composition of the novel
">Structure of the work: research includes 3 chapters, conclusion and bibliography.
">Value of the study: this study can be useful in the course of teaching literature and literary criticism to teachers and students, and also of interest to anyone interested in English literature of this period in general and the novel by Emilia Bronte in particular.
" xml:lang="en-US" lang="en-US">I"> History of the creation of the novel
">1.1 The Brontë Sisters
">The story of the Brontë sisters is a story with its own sorrows, with its own peculiar joys and secrets. Charlotte, Emily and Anne were born into the family of a rural priest, Patrick Brontë, in Yorkshire, in the north of England. The area around them was deprived bright colors: harsh heather moors, dark gray buildings, almost complete absence of greenery, and the nearby cemetery did not add warmth to the dull picture... But nevertheless, it was among this harsh nature that the Bronte sisters managed to create their wonderful works, filled with strong feelings and real passions .
">The family of the Bronte sisters could not call themselves rich. They were not distinguished by nobility either. But the daughters of Patrick Bronte were amazingly talented: from an early age they were fond of literature, loved to fantasize and create imaginary countries. There is no doubt that the harsh nature also imposed its a certain indelible imprint on the character and worldview of little girls. British literary critic Victor Soden Pritchett reviewed Emily Brontë's novel, comparing its characters with the gloomy inhabitants of Yorkshire: “Perhaps its heroes will initially strike the reader with naked cruelty and ruthlessness but in fact in harshness and intransigence judgments, pride, and a heightened sense of sin expressed the philosophy of life inherent in the inhabitants of these places, which placed the will of each human person above all else. In order to survive in these parts, it was necessary to learn to subjugate others, while not submitting to anyone."
“>Of course, the life of future writers was distinguished by its originality: it combined some kind of natural asceticism, steely severity and at the same time an irresistible desire to create and write.
">The life of little girls who lost their mother early could not be called rosy. Most They spent time in each other’s company, deprived of simple childhood communication. The isolated place where their house stood was quite monotonous, boring life contributed to even greater solitude and inevitable retreat into one’s own spiritual world.
">Emily was perhaps the most reserved of the three sisters. According to eyewitnesses, she rarely left the house, and if she did take walks, she was not particularly inclined to have friendly conversations with her neighbors. But she could often be seen pacing in thought and whispering something to herself...
">For some time, little Emily and her sister Charlotte studied at a charity school in Cowan Bridge. It was this terrible place that served as the prototype for the Lockwood Asylum in Charlotte's novel Jane Eyre, where all the horrors of such institutions were described: hunger, bad food, and the monstrous treatment of pupils...
">After studying at Cone Bridge, Charlotte and Emily decided to continue their education in Brussels. But, unlike her older sister, Emily could not get rid of the homesickness that constantly tormented her, and, returning to England in 1844, she I already tried never to leave my native land.
">1846 most significant date for the Brontë sisters. At this time, a collection of their poems was published - the first fruit of literary activity. The writers deliberately took male pseudonyms, and the collection was entitled: "Poems of Kerrer [Charlotte], Ellis [Emily], and Acton [Ann] Bell." Subsequently, of all the poems in the collection, it is Emily’s poems that receive the highest critical praise, poems permeated with sadness and longing for impossible or lost love (“Stanzas”). Particularly remarkable are Emily's philosophical lyrics, which raise themes of personal freedom and independence (“The Old Stoic”). But, despite the undeniable beauty and grace of Emily’s poems, one cannot help but note the sadness and melancholy breaking through them. The most optimistic and hopeful works in the collection were, perhaps, the poems of the younger sister Anne (especially the poem “Lines Folded in the Woods on a Windy Day”). However, then the first experience of the young poetesses, unfortunately, did not gain wide popularity among the reading public.
">But the Brontë sisters did not give up, and soon each of them decided to devote herself to prose: in 1847, Charlotte wrote her first novel “The Teacher,” Anne the novel “Agnes Gray,” and Emily “Wuthering Heights.” from this moment their tension begins literary activity, however, it continued for a relatively long time only for Charlotte, since Emily and Anne, soon after the release of their first works, suddenly died of consumption. Most likely, this was a hereditary illness of the Bronte family: all the girls were distinguished by an extremely fragile physique and very poor health, which, by the way, was significantly undermined during the years of training of the sisters at Cone Bridge. Unfortunately for the entire reading world, this hereditary serious illness did not allow the sisters to create further and cut short the lives of women who were in the prime of their strength (Emily died when she was 30, Anne at 29, Charlotte did not live to see 40).
">Meanwhile, the creative heritage of the Bronte sisters, although not numerous, has been striking researchers with its depth and originality for almost two centuries.
">Their works are very emotional, very honest and a little mysterious. The last definition, however, to the greatest extent and in its entirety refers specifically to the only novel Emily Brontë - Wuthering Heights.
"> ">1.2 "> ">The Mystery of Wuthering Heights"
">The novel “Wuthering Heights” was published, as mentioned above, in 1847, but during the writer’s lifetime it was not appreciated. World fame came to Emily Brontë much later, which, however, often happens for inexplicable reasons to great works, but, subsequently appreciated by descendants, they live for many centuries and never grow old.
">The plot of this unusual novel at first glance does not represent anything complicated. There are two estates, two opposites: Wuthering Heights and Starling Manor. The first personifies anxiety, stormy and unconscious feelings, the second harmonious and measured existence, home comfort. At the center of the story - a truly romantic figure, a hero without a past, Heathcliff, who was found by the owner of Wuthering Heights, Mr. Earnshaw, unknown where and when. Heathcliff, it seems, from birth does not belong to any of the houses, but in spirit, in his make-up, he belongs, of course, to the Wuthering Heights estate. And it is on the fatal intersection and intertwining of these two worlds that the entire plot of the novel is built.
">Without a doubt, this is a novel - a mystery that you can think about endlessly. A novel that overturns all the usual ideas about Good and Evil, Love and Hate. Emily Brontë forces the reader to look at these categories with a completely different look, she mercilessly mixes seemingly unshakable layers, at the same time shocking us with its impartiality. Life is broader than any definitions, broader than our ideas about it - this idea confidently breaks through the text of the novel. And if the reader manages, like me, to grasp this energetic message, then getting to know this novel will be truly unforgettable.
"> The writer, having created her only work, at the same time shrouded it in such mystery that even an inexperienced reader cannot help but stop in thought - “Wuthering Heights” will simply force one to reflect on its poetics, since the author himself is detached and impartial, his subjective "I" is silent, bringing the story to the reader's judgment. Emily Brontë, leaving the narration to the housekeeper Nellie Dean and Mr. Lockwood, hides behind seven locks - we cannot fully understand her relationship to the created characters. What is it: hatred or love? Somerset Maugham noted that “by first entrusting the narrative to Lockwood, and then forcing him to listen to Mrs. Dean’s story, she (Emily Brontë) hid, so to speak, behind a double mask.” He further argues that narration from the perspective of an omniscient author “would mean a contact with the reader unbearably close to her painful sensitivity.” “I think her tough and uncompromising integrity would rebel if she decided to tell this frantic story from her own person" Most likely, Emily Brontë did not want to, and probably could not, finally define her attitude towards the incredible characters she created. She simply poses a question, but leaves it to the reader to answer. Although, on the other hand, how, in general, can anyone fully comprehend these eternal space themes, touched upon in the novel? The task posed by the author is too ambitious, too big and difficult to solve on our everyday scale. Depicting completely unimaginable passions, unconscious manifestations human nature, showing the forces that stronger than man and at the same time, shrouding it all in some kind of impenetrable fog, deliberately confusing the reader, Emily Bronte left no doubt about only one thing - that these forces are higher and stronger than us. And the plot of Wuthering Heights, its entire impulsive and impetuous text prove this statement, and, as I see it, this is precisely where its mysterious power, charming mysticism and inexplicable charm lie.
">This is a book about love, but about strange love, about love that does not fit into any of our ideas about it. This is a novel about a place, but about a place generated by passion. This is a novel about fate, about will, about man, about space...
"> ">1.3 Heroes of Wuthering Heights
"> "Wuthering Heights": heroes of the first generation
">Heathcliff is a gypsy, adopted by Mr. Earnshaw into his family and raised as his son. Vengeful, embittered, cruel and stubborn. Was best friend Katherine and her lovers. Didn't get along with Hindley Earnshaw. He was married to Isabella Linton, in which he had a son, Linton.
">Catherine Earnshaw daughter of Mr. Earnshaw, sister of Hindley. A spoiled and selfish girl, initially wild, and later quite refined. She loved Heathcliff, but married Edgar Linton. She became insane and died giving birth to her daughter Catherine.
">Hindley Earnshaw brother of Catherine by blood and Heathcliff at the insistence of his father. He hated the second and, after the death of his parent, “demoted” him to a worker in Wuthering Heights, not allowing him to receive an education. He was happily married to Frances, who died after the birth of his son Hareton. After after the death of his wife, he drank himself to death, and later lost his estate to Heathcliff. A jealous, vindictive, aggressive person. By the end of his life, pitiful and degraded.
">Frances Earnshaw Hindley's wife. Soft in character, fragile. Died of consumption after childbirth.
">Edgar Linton is a friend, and then the husband of Catherine Earnshaw, the father of Catherine Linton. A patient young man, kind, gallant, well-mannered, sometimes stubborn.
">Isabella Linton sister of Edgar Linton and wife of Heathcliff, mother of the latter Linton's son. Educated, well-mannered, naive (before marriage). She married for love, found herself unhappy in this relationship and ran away from her husband.
">"Wuthering Heights": heroes of the second generation
">Heroes of Wuthering Heights Catherine Linton daughter of Catherine and Edgar Linton. Raised, kind, sympathetic. She was forced to marry Linton, whom she did not love. She lost Skvortsov Manor because of Heathcliff, but after his death she returned it. In the end found happiness with Hareton.
">Hareton Earnshaw is the son of Hindley, raised by Heathcliff after the death of his father. Devoted, grateful. Like Heathcliff in his youth, uneducated and rude. He fell in love with the widowed Catherine Linton.
">Linton Heathcliff son of Isabella Linton and Heathcliff. Until his mother's death, he lived with her, then went to his father. Under Heathcliff's pressure, he married Catherine Linton. Weak character, cowardly. Sick died soon after his wedding.
">Other Wuthering Heights Characters"
">Nelly (Ellen Dean) according to the plot of Wuthering Heights, a former servant in Wuthering Heights, later a housekeeper at Skvortsov Manor. A forced keeper of the secrets of the Earnshaw and Linton families, a participant in many events. At different times she was on relatively friendly terms with the two Catherines and Heathcliff.
">Joseph servant in Wuthering Heights. Served under Earnshaw and Heathcliff. Grumpy, pious, rather stupid.
">Zila is the housekeeper at Heathcliff's estate.
">Lockwood is a Londoner who rents Skvortsov Grange from Heathcliff. He visited the owner of the estate and once spent the night in Wuthering Heights.
">Mr. Kenneth doctor. Treated Catherine, Edgar, Francis.
Isabel
(Edgar's sister)
Edgar
(Catherine's husband and Heathcliff's rival)
Hareton
(Catherine's nephew, Hindley's son)
Katie
(daughter of Catherine and Edgar)
Linton
(son of Heathcliff and Isabella)
Hindley
(Katherine's brother)
Catherine
(Heathcliff's love)
Heathcliff
" xml:lang="en-US" lang="en-US">II"> Hierarchy of feelings in the novel "Wuthering Heights"
">2.1 The theme of love in the novel “Wuthering Heights”
"The love of Heathcliff and Catherine seems to be the center of Wuthering Heights, given that it is the strongest and most enduring feeling than any other shown in the novel and that it is the source of most of the major conflicts that structure the plot of the novel. Nelly is harshly critical both of them, condemning their passion as immoral, but this passion is one of the most compelling and unforgettable aspects of the book. It is not easy to decide whether Brontë intends the reader to judge them as punishable or to idealize them as romantic heroes whose love exceeds social norms and ordinary morality. The book is actually structured around two parallel love affairs, the first half of the novel focusing on the love between Catherine and Heathcliff, while the less dramatic second half focuses on the developing love between young Catherine and Hareton. Unlike the first one, last story ends happily, restoring peace and order to Wuthering Heights and Skvortsov Grange. The differences between these two romance novels contribute to the reader's understanding of why each ends the way it should.
">The most important feature love story Young Catherine and Hareton is that it involves growing up and changing. At the beginning of the novel, Hareton appears incorrigibly brutal, savage, and illiterate, but over time he becomes a devoted friend to young Catherine and learns to read. When young Catherine first meets Hareton, he seems completely alien to her world, yet her attitude develops from contempt to love. And the love of Catherine and Heathcliff was embedded in their childhood and could not change. Having decided to marry Edgar, Catherine seeks a more noble life, but she refuses to adapt to the role of wife. In Chapter 12, she hints to Nelly that the years when she was twelve and her father died were empty for her, and she is in a hurry to return to the moors of her childhood. Heathcliff, for his part, has the seemingly superhuman ability to hold onto the same grudges for many years.
"In addition, Catherine and Heathcliff's love is based on their shared perception. Catherine declares, “I am Heathcliff,” while Heathcliff, after her death, says that he cannot live without his “soul,” meaning Catherine In love, despite its frenzy, Catherine and Heathcliff remain chaste, like Shakespearean heroes. She denies any difference and is strangely sexless. They don't kiss in dark corners and don't have secret dates, like unfaithful spouses do. Given that Catherine and Heathcliff's love is based on their refusal to change over time, the disastrous problems of their generation are overcome not by any climactic change, but simply by the inexorable passage of time and the emergence of a new generation. Ultimately, Wuthering Heights presents a vision of life as a process of change and celebrates this process against the romantic intensity of its protagonists.
">In an era when Protestant piety degenerated into bourgeois hypocrisy, in the conditions of Victorianism with its false hierarchy of moral values, strict restrictions and conventions, the all-consuming passion of Bronte's heroes was perceived as a challenge to the system, as a rebellion of the individual against its dictates. While dying tragically, the heroes continue to love "Heathcliff and Catherine are love's revenge on the 19th century."
">2.2 Theme of revenge
">There are several main themes in the novel, but revenge is one of the most important, the factor that leads the main characters to their sad fate. Emily Brontë proves that there is nothing good in eternal revenge and pain inflicted for the purpose of revenge is more destructive, than the genuine one.
"> Heathcliff does not find peace because of his revenge. In fact, the only time when he really finds happiness is when he gives up his plan for retribution. Austin O'Malley says that “Revenge is almost the same thing as bite the dog that bit you.” This quote reflects Heathcliff's need to increase the torment of all those who have offended him. Heathcliff's plan for revenge against Edgar and Catherine is to marry Isabella, who has never experienced love for men. He wants to hurt Edgar because of his marriage to Catherine, and he wants revenge on Catherine by making her jealous. Katherine's death proves that his payback plan is not helping him. Heathcliff, haunted by Catherine's ghost (because he is her “murderer”), still motivated by the need for revenge, tries to get to young Cathy by marrying her off to his son, Linton. Heathcliff does not gain peace of mind until he abandons his plan for revenge just before his death. When he stops seeking revenge, he meets Catherine (after death) and truly becomes happy.
">Catherine's revenge doesn't improve her situation either. Blaming Heathcliff for her impending death doesn't improve her condition. Just before she dies, she attributes her “murder” to Heathcliff. “You killed me and that seems to have gone your way.” for future use." Catherine has similarities to what Oliver Goldsmith said in the poem "When a Beauty Does a Folly". Catherine's death is caused by her lack of emotional control and her split personality. Heathcleave's soul and her "one", but her desire for higher social status and popularity lead her to Edgar. She does not love Edgar, but her selfish nature controls her. Catherine's revenge does not help her in her search for happiness. She hopes to die and “gets tired of rushing into that wonderful world." Her death, however, is ill-fated, since she wanders around earth for 20 years, sometimes visiting Heathcliff and tormenting him.
"Just as Heathcliff and Catherine's revenge makes them miserable, Hindley's revenge causes him to go bankrupt and ultimately die. His attempt to kill Heathcliff only hurts him in the process; this proves Isabella's point, “Treachery and violence are the spears, sharpened at both ends: the one who uses them, they hurt more painfully than his opponent." The fact that Hindley was mistreated as a child reflects the anger created in him towards others. The pain that Hindley feels is clear, but sympathy for Hindley is only temporary because it is still his own fault.His loss of Wuthering Heights and mysterious death show that revenge makes nothing better, only worse.
">Emily Brontë confirms that revenge is not only a reckless way to live life, but also a harmful one. The harm associated with revenge shows that there are better ways to resolve conflict. Emily Brontë sends a great message to everyone by showing how negative revenge can be be.
">2.3 Theme of triumphant love
">The theme of revenge has exhausted itself, giving way to the theme of triumphant love, which is further developed in the images of the heroine's daughter - Catherine and Hareton. If the tragedy of the older generation occupies the main space of the novel, then the story about Catherine and Hareton is somewhat more modest. The writer seems to have lost the old one again situation: Hareton in the role of the foundling Heathcliff, Catherine in the place of her mother. But the young heroes reacted differently to the social and moral norms of the society they live in. Love triumphs in their souls, it equalizes them, reviving good, destroying the forces of evil and destruction. Lockwood, who appears after a year's absence, is amazed at the harmony of this couple.
">But also in the theme of triumphant love, you can consider Heathcliff and Catherine. When Heathcliff dies, his death is perceived as the restoration of the harmony of natural and free love of the once young lovers from the heather. Even the hero’s name means “cliff overgrown with heather.” They, like In the ancient Celtic legend of Tristan and Isolde, contrary to social laws, the graves are nearby... A witness to their drama, Nellie Dean, believes that there their rebellious spirit should find peace.
">The internal connection between poetry and Emily Brontë's novel manifested itself through the continuity of the motives of the lyrical rebel hero, through the concept of the harmony of the beauty of nature and man, sometimes expressed by the writer in poetic symbols.
">In the novel, realistic and romantic elements are closely intertwined, they are harmoniously combined, enriching each other, but in assessing her characters and in depicting their environment, the writer showed herself to be a mature master realist.
">2.4 Romantic and realistic elements in the novel
"> “Wuthering Heights is a wildly romantic book,” said the classic of English literature Somerset Maugham in 1965. However, Emily Brontë, having written her only work, amazingly could not fit into the usual framework literary trends. The thing is that Wuthering Heights cannot be classified as a purely romantic novel: it also contains elements of a realistic understanding of man, but Emily Brontë’s realism is special, completely different from the realism of, say, Dickens or Thackeray. We can say that here it is absolutely inseparable from romanticism, partly due to the fact that the writer refuses to consider and resolve the conflict of the novel in social or public sphere she transfers it to the philosophical and aesthetic realm. Like the romantics, Emily Brontë longed for the harmony of life. But in her work it is expressed, paradoxically, through death: only she tried on the descendants and helped to reunite the tormented lovers. “I wandered around the graves under this kind sky; looked at the moths flying in the heather and bluebells, listened to the soft breathing of the wind in the grass - and marveled at how people imagined that the sleep of those who sleep in this peaceful land could be unpeaceful,” the novel ends with these words. Still, it is surprising that such a “powerful, passionate, terrible” book, in the words of Somerset Maugham, ends with such an almost idyllic ending.
">Readers of Wuthering Heights are amazed at the amazing concreteness of the "local realistic coloring" no less than at the gloomy expressive symbolism, reminiscent of the paintings of El Greco. Together with the Brontë heroes, we bend under the gusts of the piercing wind, hear how it rustles in the fir trees and scratches a branch along the glass, we feel the firmament of the ground captured by frost, we are warmed by the warmth of a blazing fireplace, we inhale the smell of crackling logs, coal and peat, we are blinded by the shine of polished pewter dishes placed on wide oak shelves... But the strength and romance of her novel is not in the naturalistic authenticity of the details of everyday life. The strength of her novel is that the realistic concept is realized in it through romantic symbolism. Real life conflicts are mythologized, due to which their scale is exaggerated, the private turns into the universal, fast-flowing time turns into eternity. "From beginning to end, this titanic plan is felt in her novel, - writes V. Wolf, this is a high effort... to say through the lips of his heroes not just “I love” or “I hate”, but “We, the human race,” “You, the eternal forces”... This impression is facilitated by the poetic structure a novel in which the romantic and dramatic elements prevail over the actual epic beginning.
">2.5 Explanations of important quotes from the novel
">1) "Here, in any house for five or six miles around, if you come in just after dinner, you will see such a owner in an armchair at a round table, in front of a foaming mug of ale. But Mr. Heathcliff shows a strange contrast to his home and household. In appearance, he a dark-skinned gypsy, in dress and manner, a gentleman, of course, to the extent that another country squire can be called a gentleman: he is, perhaps, careless in his clothes, but does not seem slovenly, because he is well built and stands erect. And he is gloomy. Others , perhaps, they will suspect in him a certain amount of arrogance that does not fit with good upbringing; but a consonant chord in myself tells me that something quite different is hidden here: I know instinctively that Mr. Heathcliff's reserve stems from his reluctance to bare his feelings or show counter-gravitation. He will love and hate both secretly and will consider it insolence if he himself is loved or hated. But no, I’ve gone overboard: I endow it too generously with my own properties. Perhaps completely different reasons prompt my master to hide his hand behind his back when an acquaintance is forced on him, not at all the ones that motivate me.">
">This passage, from the first chapter, spoken by Lockwood, represents the first attempt to describe the mysterious image of Heathcliff, his character and his motives in the book. Outside the novel, when critics and readers discuss Wuthering Heights, the same question arises repeatedly. What description of Heathcliff The best? Here it is clear that the question of his social position is he a gentleman or a gypsy? leads to a certain confusion. The situation of the reader, just beginning to enter Wuthering Heights as a novel, parallels the situation of Lockwood, just beginning to enter Wuthering Heights as a home. Like Lockwood, readers of the novel are confronted with all sorts of strange scenes and characters (Heathcliff is the strangest of all).Further interpretations of Heathcliff's personality show that this first interpretation of him is a failure, pointing beyond Lockwood's vanity.Lockwood, in his desire to recognize Heathcliff the kindred spirit he understands with his "gut" makes assumptions that become absurd as soon as Heathcliff's story is revealed. Lockwood, who proudly describes himself as a great misanthrope and recluse, actually resembles Heathcliff just a little bit. In the many mistakes he makes during his early visits to Wuthering Heights, we see how it can easily be misinterpreted complex nature Heathcliff, and the similarity between our own position and Lockwood's becomes a warning to us as readers. We should also listen to our instincts.
">2) ">On the window sill where I placed the candle, in one corner lay a stack of moldy books; and it was all covered with inscriptions scratched into the paint. However, these inscriptions, made in either large or small letters, amounted to the repetition of just one name: Catherine Earnshaw, sometimes replaced by Catherine Heathcliff and then Catherine Linton.
">In sluggish indifference, I pressed my forehead to the window and re-read and re-read: Catherine Earnshaw... Heathcliff... Linton, until my eyes closed; but they had not rested for even five minutes, when in a flash of flame white letters appeared from the darkness, alive like visions , the air was teeming with countless Catherines; and waking myself up to drive away the obsessive name, I saw that the fire of my candle was licking one of those old books and the smell of burnt calfskin filled the air.
“>...the creaking bothered me so much that I decided to stop it, if possible; and I, I dreamed, got up and tried to open the window. The hook turned out to be soldered to the ring: I noticed this when I was still awake, but then I forgot. “That’s it.” “Even so, I must put an end to this,” I muttered and, crushing the glass with my fist, stuck out my hand to grab the impudent branch; instead, my fingers clenched on the fingers of a small, ice-cold hand! The furious horror of the nightmare washed over me; I tried to pull his hand back, but his fingers clung to it, and a voice full of bitter sadness sobbed: “Let me in... let me in!” “Who are you?” - I asked, and meanwhile I was still trying to free myself. “Catherine Linton,” trembled in response (why did I think of “Linton”? I read “Earnshaw” twenty times for every “Linton”!). I came home: I got lost in the heather thickets!">
">This passage from Chapter 3 refers to Lockwood's disturbing dream in Catherine's old bed. The connection between Lockwood and the readers is especially clear in this passage. Catherine first appears to Lockwood, as well as to the readers, as a name scribbled on the wall. When Lockwood reads the scrawled inscriptions, they seem to take on a ghostly force here Emily Brontë uses the comparison - “alive like visions.”
"Ghosts, of course, are a key image throughout the novel. In this case, it is important to note that what returns, in this first dream, is not the dead girl, but a name. We see Brontë using Lockwood as a stand-in for her readers, shows how she wants her readers to react to her books.
">This passage also provides an example of the controversial genre of Wuthering Heights. The work is often compared to the Gothic novels popular in the late 18th century, which deal with ghosts, darkness, demonic heroes and so on. But Brontë wrote her book in 1840, when the fashion Gothic novels were a thing of the past and the genre was quickly replaced by social realist novels such as the works of Dickens and Thackeray. Wuthering Heights often oscillates between two genres that contain many Gothic elements but also conform to most conventions victorian era realism. The question of genre comes to mind in the form of ghosts in the novel. Readers cannot be sure whether the ghosts are meant to be understood as nightmares, or accept them, like a Gothic novel, as no less significant than other characters. The "visions" are presented here in comparison, and in a context that will support their imagery as a nightmare. Likewise, subtle ambiguities pepper Lockwood's perspective and his encounter with Catherine's ghost.
">3) ">It is not a matter for me to marry Edgar Linton, just as it is not a matter for me to be blissful in paradise; and if this evil person If I didn’t humiliate Heathcliff like that, I wouldn’t even think about such a marriage. And now to marry Heathcliff would mean to stoop to him. He will never know how much I love him! And I love not because he is handsome, Nelly, but because he is more me than I am. Whatever our souls are made of, his soul and mine are one; and Linton's soul is as different from ours as a moonbeam from lightning or frost from fire.">
">Catherine's speech about accepting Edgar's proposal, in Chapter 9, forms the decisive moment of the book. Heathcliff leaves Wuthering Heights after he hears Catherine say that marrying Heathcliff would mean "stooping" to him. Although Wuthering's action The Pass takes place in a place far from the hustle and bustle of society, social desire motivates many of the actions of these characters.Catherine's decision to marry Edgar Linton out of a desire to be “the first lady in the county” illustrates the effect of social judgments on the characters.
">Catherine's statement that Heathcliff is “more I than I am” shows how the relationship between Catherine and Heathcliff often transcends the dynamic of desire and becomes one. Heterosexual love in literature is often described in terms of opposites as lunar ray and lightning, or frost and fire but the love between Catherine and Heathcliff is the opposite of this. Catherine says not “I love Heathcliff,” but “I am Heathcliff.” Ultimately, their relationship with a painful end confirms the destructive effect of love.
">4) ">I asked the gravedigger, who was digging Linton's grave, to clean the earth from the lid of her coffin and opened it. At first I thought that I would not leave the place when I saw her face again - it was still her face! The gravedigger pushed me aside with difficulty. He said that his face would change if the wind blew on it, and then I loosened the wall of the coffin on one side and again covered the coffin with earth - on the wrong side where they would lay Linton, damn him! For me, let him be sealed in lead "And I bribed the gravedigger to move Catherine's coffin when I was laid there, and mine too. I'll make sure it happens that way. By the time Linton gets to us, he won't know which is which of us."
"> Not good, not good, Mr. Heathcliff! I was indignant. Were you not ashamed to disturb the dead woman?
“> I didn’t disturb anyone, Nellie,” he objected, “I got the world for myself.">
">When Heathcliff tells this disgusting scene to Nelly in chapter 29, the book enters one of its most gothic moments. Heathcliff, trying to win back Catherine herself, constantly comes across simple reminders of her. However, far from satisfying him, these reminders only lead him to Heathcliff's desire to be reunited with Catherine could indeed explain most of his actions, from his acquisition of Starling Grange and Wuthering Heights to his lordship over everyone associated with Catherine.
">He tries to break through what reminds him of his beloved to his beloved herself, by destroying the reminder. You can see, in the language he uses, this difference between objects that refer to Catherine and Catherine herself. When he opens her coffin, he does not say that he sees her again. Instead, he says, “I saw her face again,” indicating that her corpse, like her daughter or her portrait, is a thing that she possessed, a thing that relates to her, but not to the woman herself. It seems that in this extreme scene he finally understands that he will never contact her real presence by acquiring and destroying people and property associated with her. This understanding brings Heathcliff a new calm, and from that moment he begins lose interest in destruction.
">5) ">You will think, right, that this should have the strongest effect on my imagination, but in fact in my eyes this is the most secondary thing: for what is not connected with her for me? What does not remind me of her? I’m not even under my feet I can look so that her face does not appear here on the floor slabs! It is in every cloud, in every tree fills the air at night, appears in the outlines of objects during the day her image is everywhere around me! The most ordinary faces, male and female, my own features everything teases me with its likeness. The whole world is a terrible panopticon, where everything reminds me that she existed and that I have lost her.">
">In this excerpt from chapter 33, Heathcliff confesses to Nelly about his internal state. As Nelly says, “the mania for the lost idol” has now reached its final stage of development. In the passage in which Heathcliff describes digging up Catherine's grave, we learn about Heathcliff's disappointment. Katherine's corpse testifies to her presence, and at the same time, her absence. Katherine's many signs show that "she really existed" but that "I lost her." As a result, just as his entire existence is connected with Catherine, his perception of the world is imbued with her presence. Consequently, he finds signs of Catherine “all over the world,” and not just in certain figures such as her daughter or her portrait.
" xml:lang="en-US" lang="en-US">III" xml:lang="kk-KZ" lang="kk-KZ">"> Stylistics and composition of the novel
">3.1 Linguistic and stylistic features
">The novel "Wuthering Heights" is built on the harmony of contrasts. It echoes dichotomies: black and white, life and death, everything and nothing. The very structure of the novel, its stylistic and language means, quite bright and interesting.
">The figurative component of the novel is very clearly expressed through color. The novel "Wuthering Heights" is filled with various stylistic devices: epithets, metaphors, hyperboles, comparisons.
">The author uses epithets to make the descriptions in the novel brighter, more imaginative, to fill them with life. Epithet is a subjective assessment of the author. Emily Brontë uses the following epithets: golden rings of hair; this is a silver haze; our fiery Catherine; a bouquet of golden crocuses and etc.
">For example: a coward who has milk flowing in his veins; your blood is not white, etc. From these examples it is clear that the author compares human blood with milk. Thus, the author describes cowardly man who has no opinion. These images are also based on the contrast of red and white.
">E. Bronte's entire novel is built on the opposition: love and hate, passion and indifference, life and death, black and white. The antithesis in color makes the picture of what is happening even more colorful, bright and memorable. The author uses explicit and implicit ways of expressing the antithesis. From the following examples we see that in this case the antithesis is expressed in specific colors and is easy to trace: turning blue eyes into black; four blue prints on colorless skin; although you try to knock out her eyes and turn them from black to red; one gold , and the other tin, and rubbed to shine, so that they could replace silver with it; rubbed her pale cheeks until red; his dark face became a little yellower, etc.
">But along with the explicit way of expressing the antithesis, Emily Brontë uses a method built on associations: on a green slope in the corner of a cemetery; young leaves on early trees have withered, turned black; eyes full of black fire; on a green burial mound; frost from the fire and etc.
">From these examples it is clear that the cemetery is associated with the color black, young leaves with green, frost with white, and fire with red.
">Along with metaphors, the author also uses more explicit comparisons of two similar phenomena. These include the following examples: and his face was white as a wall; he is so black, as if born from the devil; the black cabinet sparkles like agate etc.
">With the help of conjunctions such as “as,” the author manages to create visual images that allow us to better understand a certain shade of the color being compared.
">Emily Brontë uses hyperbole when describing the color scheme in her novel: her cheeks, immediately turning white and blue, took on a deathly appearance, bloody tears, her black eyes burned with passion and determination, a pleasant red glow of fire.
">The use of hyperbole allows you to show the fullness of the feelings of the heroes of the novel. For example, tears cannot be bloody, but Bronte uses the word blood to emphasize all the bitterness and sadness that gripped the hero. Or, for example, the author uses the expression “red fire”, in which calls the fire red, but the fire is already red, so the adjective “red” is intended only to emphasize the strength of the flame in the fireplace, which directly reflects the strength of the emotions of the people in the room.
">So, we see that Emily Brontë managed to create really bright and vibrant images in her novel Wuthering Heights. And these images are shown through the use of different colors that reflect all the emotions and feelings of the characters in the novel.
">3.2 Compositional techniques
"> With all the ease and ease of the narrative, with all the natural complexity of family connections between the characters, “Wuthering Heights” is a skillfully constructed book in which the composition is thought out in the most careful way. The purpose of this work is to analyze the techniques and compositional features Emily Brontë's novel Wuthering Heights. Considering the many approaches to defining composition, I settled on the following: “Composition (Latin compositio composition, linking, addition, connection), the mutual correlation and arrangement of units of the depicted and artistic and speech means in a literary work. Structure, plan of expression of a literary work. Construction of a work of art."
">In Wuthering Heights there is a rather complex combination of time layers. It is noteworthy that the novel begins with the exact date 1801 when Mr. Lockwood first crosses the threshold of Wuthering Heights. By this time, the story, which began many years ago, is already nearing its denouement. Nelly's story Dean takes the reader back to the events of thirty years ago and gradually brings him closer to the present time.Talking about past events, Nellie Dean does not lead an accurate, year-by-year story, she deliberately throws out several years of life that are not important for understanding the essence of her story.
">The connection of different time layers is achieved using montage. E. Bronte resorts to this technique in order to make the narrative more dynamic, to focus on key, conceptual important points, which carry the greatest semantic load and through which the main themes and ideas of the novel are revealed.
">In addition to the complex combination of time layers, the work of E. Bronte is characterized by bidirectionality of action in time, that is, the movement of action from the present not only to the past, but also to the future. Bidirectionality of action serves as a way of representing solutions to the problems raised in the novel and reveals author's attitude to these problems.
">E. Brontë uses the technique of plot framing, that is, he places a story within a story: the old maid Nellie Dean, who worked in the Earnshaw and Linton houses, reveals their secrets to a visiting gentleman, Mr. Lockwood, on whose behalf the narrative begins. Thus, we learn the story of Heathcliff, Earnshaw and the Lintons as retold by Lockwood.
">The choice of two characters on behalf of whom the story is told - Mr. Lockwood and Nellie Dean - is not accidental. The function of these two heroes, the most ordinary, “normal” people, in the book is to give the story a realistic, everyday-reliable character, to comment happening from the point of view of common sense and thereby demonstrating the well-known inconsistency of approaching the described events from the standpoint of everyday logic.
">In the novel by E. Bronte there is a rather complex grouping of heroes. The heroes can be divided into two groups: the inhabitants of Wuthering Heights the Earnshaw family and the inhabitants of Skvortsov Grange the Linton family. During the course of the novel, the grouping of heroes changes, heroes from the first group move to the second and vice versa This “arrangement” of characters allows E. Bronte to show the same heroes in two worlds, which the author contrasts in the novel in the world of raging passions, where the ideas of freedom, self-loyalty and the eternal laws of human brotherhood reign, which symbolizes Wuthering Heights and in a rational, civilized world, where they live, obeying the conventions and constraining morality of their time and circle, symbolized by Skvortsov Manor.
">The main ways of “presenting” images are comparison and contrast, which the author uses to create the image of the hero and reveal his inner world. Through the comparison of heroes, E. Bronte reveals two different characters: Hindley a slave of the senses, and Edgar a servant of the mind. The principle of comparison is also used to create the image of Katie Jr. Unlike her mother, from whom she inherited the ability to have strong feelings, Katie knew how to be soft and meek, like a dove. “Her anger was never furious, and her love was frantic her love was deep and tender "[Ch. 28]. Through the images of the heroes Hindley and Edgar, Catherine and her daughter the author expresses the idea that the lack of a harmonious combination in a person of feeling and reason leads to mental conflict with himself.
">Creating the images of Cathy and Hareton, E. Bronte uses a system of “mirror” images. The relationship between Cathy and Hareton is built by analogy with the relationship between Catherine and Heathcliff, but unlike the latter, they have a happy ending. Consequently, the theme of love in the novel by E. Brontë is revealed in two tones the story of the tragic love of Catherine and Heathcliff and the story happy love Katie and Hareton.
">The meaningful compositional elements in E. Bronte's novel are a dream, an interior and a landscape. Catherine sees a dream about paradise, which is her home, but in which she is deeply unhappy. The dream performs the function of a prediction: Catherine, having married Edgar, and settled in his in a cozy house reminiscent of an earthly paradise, everyday life is deprived of true happiness.Thus, the dream prepares the reader for the perception of subsequent events of the novel.
">In order to show the differences between the heroes - the inhabitants of Wuthering Heights, the rude, inhospitable and refined people, the well-mannered inhabitants of Skvortsov Manor, E. Bronte uses the interior. The furnishings in Catherine's room at Wuthering Heights are the simplest: a chair, a chest of drawers and a small oak casket. In At the Linton house, Catherine and Heathcliff were amazed at the luxurious decoration of the room.
">E. Bronte's landscape sketches are laconic and brief, since the state of nature creates the atmosphere for upcoming events, and it either corresponds or contrasts with them. The description of nature creates a depressing, disturbing atmosphere for the appearance of a ghost at Wuthering Heights during Lockwood's stay there: " the dark night came before the time, mixing the sky and the hills in a fierce whirling of wind and snow" [chapter 2]). Thus, E. Bronte uses the landscape for the purpose of emotional impact on the reader.
">"Wuthering Heights" begins from the moment when the action is already moving towards the denouement. As a result, the traditional logical sequence of the main elements of the composition (exposition, plot, development of the action, climax and denouement) is disrupted. E. Bronte uses the technique of plot-compositional inversion with The goal is to capture the reader's attention from the first pages of the book.
">The novel operates on the principle of a compositional ring, since it begins with a scene of Lockwood visiting Wuthering Heights and ends the novel with a similar scene. The technique of a compositional ring allows E. Bronte to return the reader to the beginning of the novel and draw a line under the story set out in it, making it complete and indirectly expressing his author’s attitude to the problem raised in the novel.
">A peculiarity of the novel is the author’s use of a technique of silence without further clarification or direct discovery, hitherto hidden from the heroes and the reader. The origin of Heathcliff remains unknown, how he became rich and turned into a real gentleman after a three-year absence from Wuthering Heights. Hindley’s death is also shrouded in mystery: guilty whether Heathcliff is in it or not. E. Bronte does not give answers to all these questions, thus introducing into the novel a romantic spirit of mystery and enigma.
">E. Bronte uses such a technique as changing points of view in Wuthering Heights on the scale of the entire work. The novel contains heteroglossia or polyphony, that is, there is no author, traditional for a Victorian novel, who, in the words of W. Thackeray, “knows everything." E. Bronte captures in the book various manners of speaking and the types of consciousness reflected in them, through which the worldview of this or that hero is revealed. From the pages of the novel, the reader hears the voices of Catherine, Heathcliff, Nelly, Lockwood, Isabella.
">Thus, the composition of the novel “Wuthering Heights” by E. Bronte can be defined as circular, i.e. the beginning and end of the novel seem to close, forming a ring, and also as complex or complex with elements of retrospection.
">From the above it is clear that the main techniques used by E. Bronte in Wuthering Heights are plot inversion, compositional ring, plot framing, silence, montage, change of points of view.
">Conclusion
"Wuthering Heights" by Emily Brontë is a truly unique book. This novel puts Emily in line with such singers of rebellion and strong feelings as Virginia Woolf, Anne and Charlotte Brontë. However, Wuthering Heights is not a woman's work at all. It is strong, amazing , terrible work, which covers the reader headlong. The author of this book is not at all a romantic and capricious woman, but a person with extraordinary literary abilities. This is a man who knew and was able to portray all the horror and disgustingness of human nature.
">Seeing the light of day in England back in 1847, Wuthering Heights today occupies the minds and hearts of both young ladies and older people. It was called “the devil’s book”, and “an unthinkable monster”, and “the most romantic novel”; it was recognized as one of the most brilliant works of all times and peoples. S. Maugham included Wuthering Heights in the top ten best novels in history. There are more than fifteen film adaptations of the timeless novel. It is constantly republished and a considerable number of its reminiscences are found in modern literature. Surprisingly, this novel has nothing in common with the literature of the Romantic era. He is more serious, taller. It is generally impossible for him to find the proper era. This is a timeless book about the timeless virtues and shortcomings of human nature.
">Whether there is a story of true love in this book, or is it just unbridled passion? It’s up to each reader to decide. However, “Wuthering Heights” remains a classic of world literature to this day. Many generations of readers have already read this book - they continue to read it today. After all, a book does not age, just as true love does not age...
">References
">1. Charlotte Brontë" xml:lang="en-US" lang="en-US">and"> " xml:lang="en-US" lang="en-US">Another"> " xml:lang="en-US" lang="en-US">Lady">. Emma // Bronte sisters in England. M.: AST publishing house, 2001
">2. Spark M. Emily Bronte // These mysterious Englishwomen. M., 1992.
">3. . Gritchuk, M.A. Emilia Bronte and her novel “Wuthering Heights” / M.A. Gritchuk // Bronte E. Wuthering Heights. M., 1963.
">4. Wulf V. Essay. M.: AST publishing house, 2004. P. 809-813.
">5. Kettle, A. Emilia Brontë: “Wuthering Heights” / A. Kettle // Introduction to History English novel. M.: Progress, 1966.
">6. Maugham, W. S. Emily Bronte and Wuthering Heights / W. S. Maugham // Bronte S. and Another Lady. Emma. M.: Folio, 2001.
">7. ">. Pritchett, V.S. Irreconcilable warriors of Wuthering Heights / V.S. Pritchett // Bronte S. and Another Lady. Emma. M.: Folio, 2001.
">8. Bronte, S. Editor's Preface to the new edition of Wuthering Heights / S. Bronte // Writers of England about the literature of the 19th - 20th centuries. M., 1981.
">9. Dyakonova N.A. English romanticism. Problems of aesthetics. M.: Nauka, 1978.
">10. http://loveread.ws/view_global.php?id=4519
">11. ">Elistratova, A.A. On the problem of the relationship between realism and romanticism (based on the history of English literature of the end" xml:lang="en-US" lang="en-US">XVIII"> -start " xml:lang="en-US" lang="en-US">XIX"> centuries) / A.A. Elistratova // Questions of literature. -1957.
"> 12. Golovenchenko F.M. Introduction to literary criticism. M.: Higher School.
">13. ">Arnold I.V. Stylistics of modern in English. M.: Enlightenment.
"> 14. Shevchenko N.V. Fundamentals of text linguistics. M.: Priorizdat.
">15. ">http://www.sparknotes.com/lit/wuthering/section1.rhtml
The materials were collected by the SamZan group and are freely available
Emily Bronte's only book became a reference book for several generations of girls and girls who dreamed of romantic love. And let the ending of this beautiful story gloomy, the main characters have many shortcomings, and the landscapes described suffer from monotony and boredom, but while reading the plot does not let go for a minute, and when you close the book, you want with all your heart to fall in love, to experience all those contradictory emotions that Heathcliff did.
about the author
Emily Brontë was the middle of three sisters. She got a good education, but did this at long intervals, since her financial situation and health did not always allow her to attend school. The writer was quite close to her sisters Charlotte and Emily, but the family noted that she was characterized by such traits as isolation, straightforwardness and mysticism. She had no other close friends, but she did not try to find them. In addition to housework, Emily taught at a school that was located next to her home.
Many people love Bronte's masterpiece Wuthering Heights. But she also wrote poetry, which was appreciated in literary circles and were placed on a par with Byron and Shelley. Unfortunately, the girl’s already difficult and gloomy life was short-lived. At the age of 27, at her brother’s funeral, she caught a cold and developed consumption. They couldn't help her. And her creative legacy received recognition only after her death thanks to the efforts of Charlotte.
So, the novel “Wuthering Heights”. A brief summary, or, if you like, a free retelling, cannot convey three-dimensional picture, but we hope it will interest readers.
Introduction, or plot
"Wuthering Heights" is a novel about love. But not about those wonderful, sublime feelings that make people be better, kinder, brighter towards others, but about passion that consumes everything around and erases the human appearance. The plot centers on the story of the Earnshaw and Linton families, shown through the prism of the relationship between the main characters. The novel takes place in England in the 18th century. The plot of the story begins at the moment when a wealthy landowner brings home a gypsy boy of about ten years old and announces that from now on he will live with his family. Of course, the household were not delighted with this prospect, but they had to come to terms with it. The Esquire already had two children: Catherine and Hindley. The boy was the eldest in the family and was supposed to inherit the estate along with the entire fortune.
After they peaceful life was destroyed by the appearance of Heathcliff, a sad event follows: the mother of the family, Mrs. Earnshaw, dies, which greatly affects the health of the owner of the house. The friendship between Katie and the foundling quickly develops into a love that frightens both of them. But meeting her neighbors from Cape Starling somewhat dilutes the girl’s social circle, and she sees an alternative in the young, educated and handsome Edgar Linton, who is also vying for her attention. Hindley goes to college, and after a short period of time, Mr. Earnshaw dies of a heart attack, and Hindley returns home with his family. Heathcliff's future is put on hold because the boys have disliked each other since childhood, and now that they have turned into master and servant, the relationship has become more than strained.
Difficult choice
Catherine, seeing the humiliation that her beloved has to endure, decides to marry Linton so that Heathcliff will have financial support. But her plan did not succeed, since immediately after the matchmaking the young man disappeared without a trace and appeared only after three many years. He looked, talked and behaved like a gentleman, and having money made him a good match for any girl, but love does not die just because it was neglected.
A few months later, Katerina, being pregnant, begins to show signs of a mental disorder: she talks to herself, hysterics happen to her, she always wants to see Heathcliff, and her husband tries to prevent this. Ultimately, after a long stay in the cold, the expectant mother came down with a fever and died after a premature birth, and Edgar and Heathliff mourned her.
Heathcliff's family life
Isabella Linton, Edgar's sister, falls in love with the gloomy and unsociable Heathcliff and marries him. But not having lived with her husband for even a year, the girl runs away from him to a neighboring county, where she learns terrible news - she is carrying a child under her heart. The boy was born weak and sickly, and after the death of his mother he went to live in Wuthering Heights. The novel continues to develop in a kind of absurd spiral: the Linton daughter falls in love with Heathcliff's son and marries him. This finally pulls the rug out from under her father, and Edgar dies after a short illness.
Denouement and finale
At the end of the story, Heathcliff becomes rich, but his heart remains black. He did not forgive anyone for the humiliation he suffered as a child. Hindley has long been buried in the family graveyard, and his son does the dirty work in Wuthering Heights. Catherine's daughter is now Heathcliff's daughter-in-law, but she never knew happiness in marriage, because her husband is seriously ill, capricious and has the same obnoxious character as his father. However, it was short-lived. Having become a widow, she becomes immersed in herself and stops responding to the world around her.
We meet the characters in Bronte's novel Wuthering Heights during this period of their lives. And the reader learns the previous events in the retelling of the housekeeper of the Earnshaw family, Helen Dean. She entertains her new owner, the tenant of Cape Starling, with stories. In fact, Helen herself composes a novel called “Wuthering Heights”, a summary of which is recognized by Mr. Lockwood, who appeared in those parts shortly before Heathcliff’s death.
Be that as it may, after going through so much torment on earth, wishing death to all his enemies and their children, Heathcliff dies and is reunited with Catherine, never to let her go again. This event allows young Chariton Earnshaw, Hindley's son, to show his feelings for Katherine Linton and put an end to the family feud.
Love story
Reading “Wuthering Heights,” a summary of which is given above, you understand how multifaceted and all-consuming love can be. She pushed Cathy and Heathcliff to do terrible things so that others could feel pain and bitterness the way they did. Wanting to help her beloved, Miss Linton marries someone else, hoping for understanding from Heathcliff. He, trying to get a worthy position in society, becomes even more cruel and calculating. Wuthering Heights, where love, birth and death came uninvited and left as they pleased, became the site of tragedy. Revenge should be cold, but in this case love always heated her to a boil. These two were able to show how strong passion can be, which cannot be destroyed, even if you live apart, even if you cause each other suffering, even after death.
Film adaptations
Emily Brontë's novel Wuthering Heights is a remarkable book in many ways, and making a film based on it proved challenging. Since 1920, films have been released in English, French and Spanish. All of them were remembered by the audience in one way or another. The main problem for the actors was the emotional part that Wuthering Heights required. The best film adaptation, according to viewers, was filmed in 2009. Not everyone agrees with this, but everyone has the right to their opinion.
Critics
They were quite suspicious of the novel when it was first published. Critics considered it too dark, grotesque and mystical, not at all suitable for young girls to read. But after Emily’s death, she republished the book and received the first positive reviews. “Wuthering Heights” (the analysis of experts was scrupulous) turned out to be worthy of reading and was much deeper than it seemed at first glance. This was even noted, which at that time meant praise of the highest standard.
Public acceptance
After only a century and a half, Wuthering Heights, quotes from which are actively borrowed by romantic youth, began to be studied in schools and universities, young talented writers are trying to repeat some of the storylines, and directors are not giving up trying to film worthy film adaptation. It is unknown whether Emily Brontë wanted this, but for many, the concept of strong and all-consuming love is associated not with Romeo and Juliet, but with Heathcliff and Cathy. The Wuthering Heights mansion, the novel of the main characters, English nature - everything gives a special charm to this work.
Afterword
“Wuthering Heights” is a book that absorbs the reader, immersing him in a whirlpool of events against the backdrop of beautiful, but rough nature. It is not entirely clear why the young girl came up with just such a plot for a novel. What prompted her to write such a dark thing? Her life was joyless, and romantic relationships are not mentioned anywhere, but the essence of love, its heat, passion and torment are conveyed very naturalistically. The novel "Wuthering Heights", a brief summary of which, we hope, will provide food for thought and, of course, to get acquainted with the full plot, is definitely recommended for reading. Fortunately, now you can find both audio plays and e-books, and available paper copies.
Heroes of Wuthering Heights
"Wuthering Heights": heroes of the first generation
Heathcliff is a gypsy adopted by Mr. Earnshaw into his family and raised as his son. Vengeful, embittered, cruel and stubborn. He was Katherine's best friend and her lover. Didn't get along with Hindley Earnshaw. He was married to Isabella Linton, in which he had a son, Linton.
Catherine Earnshaw - Mr. Earnshaw's daughter, Hindley's sister. A spoiled and selfish girl, initially wild, and later quite refined. She loved Heathcliff, but married Edgar Linton. She became insane and died giving birth to her daughter Katherine.
Hindley Earnshaw is Catherine's brother by blood and Heathcliff's at the insistence of his father. He hated the second and, after the death of his parent, “demoted” him to a worker in Wuthering Heights, not allowing him to receive an education. He was happily married to Frances, who died after giving birth to his son Hareton. After the death of his wife, he drank himself to death and later lost his estate to Heathcliff. A jealous, vindictive, aggressive person. By the end of his life he is miserable and dejected.
Frances Earnshaw - Hindley's wife. Soft in nature, fragile. She died of consumption after childbirth.
Edgar Linton - friend and then husband of Catherine Earnshaw, father of Catherine Linton. A patient young man, kind, gallant, well-mannered, sometimes stubborn.
Isabella Linton is the sister of Edgar Linton and the wife of Heathcliff, the mother of the latter Linton's son. Educated, well-mannered, naive (before marriage). She married for love, found herself unhappy in this relationship and ran away from her husband.
"Wuthering Heights": heroes of the second generation
The heroes of Wuthering Heights Catherine Linton is the daughter of Catherine and Edgar Linton. Well-mannered, kind, responsive. She was forced to marry Linton, whom she did not love. She lost Skvortsov Manor because of Heathcliff, but after his death she returned it. In the end, she found happiness with Hareton.
Hareton Earnshaw is Hindley's son, raised by Heathcliff after his father's death. Devoted, grateful. Like Heathcliff in his youth, uneducated and rude. He fell in love with the widowed Catherine Linton.
Linton Heathcliff is the son of Isabella Linton and Heathcliff. Before his mother's death he lived with her, then he went to his father. Under pressure from Heathcliff, he married Catherine Linton. Weak character, cowardly. Sick - died shortly after his wedding.
Other Wuthering Heights Characters
Nellie (Ellen Dean) - according to the plot of "Wuthering Heights", a former servant in Wuthering Heights, later a housekeeper in Skvortsov Manor. Forced keeper of the secrets of the Earnshaw and Linton families, participant in many events. At various times she was on relatively friendly terms with the two Catherines and Heathcliff.
Joseph is a servant at Wuthering Heights. Served under Earnshaw and Heathcliff. Grumpy, pious, stupid.
Zila is the housekeeper at Heathcliff's estate.
Lockwood is a Londoner who rents Starling Grange from Heathcliff. Visited the owner of the estate and once spent the night in Wuthering Heights.
Mr Kenneth is a doctor. Treated Catherine, Edgar, Francis.
The heroes of the novel, Hintcliffe and Catherine, reject the generally accepted norms of bourgeois morality - the culminating scene here is the death of Catherine. It would seem that the entire situation of the action pushes the novelist towards solving this scene in traditional melodramatic canons. Catherine is dying, and out of the darkness of the night Heathcliff appears. The heroine's death throes are revenge for desecrated love. Catherine “betrayed her own heart,” was seduced by the wealth and beauty of Edgar Linton, and wanted to become “the first lady in the area.”
However, it is not in this act of Catherine, as the writer shows, that the tragic contradiction between man and society lies - no one forcibly gave Catherine away as Linton. The point here is different: the surrounding society created the duality of her soul, deprived her character of integrity and thereby deprived her of the opportunity to be happy. Her words: “If Heathcliff and I get married, will we be beggars? And if I marry Linton, I will have the opportunity to help Heathcliff rise..." - and they are naive and at the same time they already sound bourgeois prudence, the ability to make compromises. Her very feeling is poisoned and crippled: love in it merges with hatred, the joy of a short meeting is overshadowed by the grief of separation, the cruelty of circumstances makes her herself cruel. The most terrible result of betrayal is loneliness. And Heathcliff, tormented by his powerlessness to help her, says: “Oh, I know, she is among you, like in hell!.. How could she not get hurt, damn it, in her terrible loneliness?” Here the author is faced with possibilities: either Catherine will reject Heathcliff on her deathbed, the sacred bonds of marriage will remain inviolable and the vice will receive what it deserves; or true love will triumph.
It is unlikely that it even occurred to Emilia Brontë to settle on one of these possible solutions: both would have upset the idea of her novel. The fact that Emilia Brontë did not take either path testifies to her moral strength and artistic skill. After all, by rejecting possible traditional solutions suggested by the situation of the episode, the author gives this scene a truly amazing moral force. Heathcliff, who finds Catherine near death, is merciless to her, morally merciless; Instead of words of consolation, he with cruel frankness expresses to the dying woman his assessment of her actions. The relationship between Catherine and Heathcliff, reflecting the desire for greater humanity and greater moral depth than the moral standards of the world of Linton and Earnshaw can accommodate, must pass the test to which Heathcliff subjects it here. Any half-truth, any attempt to circumvent the burning issues in question, or to soften their severity, would spoil the whole matter and would be unworthy of the heroes of the book. Heathcliff knows that one thing and only one thing can give Catherine peace of mind, who cannot be saved from death by any force: a complete and completely honest awareness of the essence of the ties that bind them, acceptance of both these ties and everything that stands behind them. Neither persuasion nor a deal with conscience would give hope for peace of mind.
Any such display of weakness would be demeaning to the dignity of both, would mean that their lives were lived in vain and that nothing could be changed on the threshold of death. Heathcliff and Catherine, who does not want to be buried among the Lintons, under the arches of the church, and rejects the consolations of Christianity, realize that their relationship is more important than death itself. The end of the story of Catherine and Heathcliff is more fairy-tale, folkloric than mystical. Dooming his heroine to the afterlife, E. Bronte strives to punish her as much as possible. At the same time, Catherine's wanderings after death and especially the appearance of Catherine's spirit at the window of her maiden bedroom symbolically reveal the idea of the impossibility of human happiness in the bourgeois world. Therefore, one can hardly talk about E. Bronte’s desire to give the novel a religious and mystical character. “Wuthering Heights” is replete with attacks not only against the church and priests, but also against religion itself. A long and boring sermon (in Lockwood's dream scene) ends in a general brawl in the church. Catherine and Heathcliff themselves, absorbed in love, worry little about Christian duty. Catherine promises Heathcliff: “Let me be buried twelve feet in the ground and the church collapse on my grave, I will not rest until you are with me!”
Instead of repentance before death, Heathcliff demands: “No priest needs to come, and no funeral speeches are needed: I tell you, I have almost reached my heaven. I don’t value the sky of others and I don’t worry about it.” And the writer does not condemn her hero. Heathcliff’s deity is his love: “I can’t even look at my feet without her face appearing here on the floor slabs. It is in every cloud, in every tree - it fills the air at night, during the day it appears in the outlines of objects - her image is everywhere around me!” These words echo Shelley's pantheism.
The writer makes an attempt to contrast the official religion with some other, new one, in which they worship not a god insensitive and deaf to human suffering, but a person whose image merges with immortal nature. But E. Bronte does not stop there. appears before us new story love - Cathy and Hareton. If Catherine Earnshaw, this rebellious, rebellious soul, impetuous and tragically broken woman, so unlike the meek and benevolent heroines of the stereotypical English novel and in many ways similar, rather, to her lover, whose tragedy and guilt is that she, in the expression Heathcliff, “betrayed her own heart,” exchanged sincere love for her childhood friend for wealth and position in society, dies, tormented by remorse, then her daughter atones for her mistake. Emilia Bronte has unlimited faith in people, so this evolution of the novel is natural and it is no coincidence that the relationship between Cathy and Hareton is introduced into the plot.
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The system of images in the novel “Wuthering Heights”
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