Analysis of Major Characters in Wuthering Heights呼啸山庄英文介绍及赏析.doc

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1、Today, Wuthering Heights has a secure position in the canon of world literature, and Emily Bront is revered as one of the finest writersmale or femaleof the nineteenth century. Like Charlotte Bronts Jane Eyre, Wuthering Heights is based partly on the Gothic tradition of the late eighteenth century,

2、a style of literature that featured supernatural encounters, crumbling ruins, moonless nights, and grotesque imagery, seeking to create effects of mystery and fear. But Wuthering Heights transcends its genre in its sophisticated observation and artistic subtlety. The novel has been studied, analyzed

3、, dissected, and discussed from every imaginable critical perspective, yet it remains unexhausted. And while the novels symbolism, themes, structure, and language may all spark fertile exploration, the bulk of its popularity may rest on its unforgettable characters. As a shattering presentation of t

4、he doomed love affair between the fiercely passionate Catherine and Heathcliff, it remains one of the most haunting love stories in all of literature.Analysis of Major Characters in Wuthering HeightsHeathcliffWuthering Heights centers around the story of Heathcliff. The first paragraph of the novel

5、provides a vivid physical picture of him, as Lockwood describes how his “black eyes” withdraw suspiciously under his brows at Lockwoods approach. Nellys story begins with his introduction into the Earnshaw family, his vengeful machinations drive the entire plot, and his death ends the book. The desi

6、re to understand him and his motivations has kept countless readers engaged in the novel.Heathcliff, however, defies being understood, and it is difficult for readers to resist seeing what they want or expect to see in him. The novel teases the reader with the possibility that Heathcliff is somethin

7、g other than what he seemsthat his cruelty is merely an expression of his frustrated love for Catherine, or that his sinister behaviors serve to conceal the heart of a romantic hero. We expect Heathcliffs character to contain such a hidden virtue because he resembles a hero in a romance novel. Tradi

8、tionally, romance novel heroes appear dangerous, brooding, and cold at first, only later to emerge as fiercely devoted and loving. One hundred years before Emily Bront wrote Wuthering Heights, the notion that “a reformed rake makes the best husband” was already a clich of romantic literature, and ro

9、mance novels center around the same clich to this day.However, Heathcliff does not reform, and his malevolence proves so great and long-lasting that it cannot be adequately explained even as a desire for revenge against Hindley, Catherine, Edgar, etc. As he himself points out, his abuse of Isabella

10、is purely sadistic, as he amuses himself by seeing how much abuse she can take and still come cringing back for more. Critic Joyce Carol Oates argues that Emily Bront does the same thing to the reader that Heathcliff does to Isabella, testing to see how many times the reader can be shocked by Heathc

11、liffs gratuitous violence and still, masochistically, insist on seeing him as a romantic hero.It is significant that Heathcliff begins his life as a homeless orphan on the streets of Liverpool. When Bront composed her book, in the 1840s, the English economy was severely depressed, and the conditions

12、 of the factory workers in industrial areas like Liverpool were so appalling that the upper and middle classes feared violent revolt. Thus, many of the more affluent members of society beheld these workers with a mixture of sympathy and fear. In literature, the smoky, threatening, miserable factory-

13、towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of Englands “dark Satanic Mills.” Heathcliff, of course, is frequently compared to a demon by the other characters in the book.Considering this histo

14、rical context, Heathcliff seems to embody the anxieties that the books upper- and middle-class audience had about the working classes. The reader may easily sympathize with him when he is powerless, as a child tyrannized by Hindley Earnshaw, but he becomes a villain when he acquires power and return

15、s to Wuthering Heights with money and the trappings of a gentleman. This corresponds with the ambivalence the upper classes felt toward the lower classesthe upper classes had charitable impulses toward lower-class citizens when they were miserable, but feared the prospect of the lower classes trying

16、 to escape their miserable circumstances by acquiring political, social, cultural, or economic power.CatherineThe location of Catherines coffin symbolizes the conflict that tears apart her short life. She is not buried in the chapel with the Lintons. Nor is her coffin placed among the tombs of the E

17、arnshaws. Instead, as Nelly describes in Chapter XVI, Catherine is buried “in a corner of the kirkyard, where the wall is so low that heath and bilberry plants have climbed over it from the moor.” Moreover, she is buried with Edgar on one side and Heathcliff on the other, suggesting her conflicted l

18、oyalties. Her actions are driven in part by her social ambitions, which initially are awakened during her first stay at the Lintons, and which eventually compel her to marry Edgar. However, she is also motivated by impulses that prompt her to violate social conventionsto love Heathcliff, throw tempe

19、r tantrums, and run around on the moor.EdgarJust as Isabella Linton serves as Catherines foil, Edgar Linton serves as Heathcliffs. Edgar is born and raised a gentleman. He is graceful, well-mannered, and instilled with civilized virtues. These qualities cause Catherine to choose Edgar over Heathclif

20、f and thus to initiate the contention between the men. Nevertheless, Edgars gentlemanly qualities ultimately prove useless in his ensuing rivalry with Heathcliff. Edgar is particularly humiliated by his confrontation with Heathcliff in Chapter XI, in which he openly shows his fear of fighting Heathc

21、liff. Catherine, having witnessed the scene, taunts him, saying, “Heathcliff would as soon lift a finger at you as the king would march his army against a colony of mice.” As the reader can see from the earliest descriptions of Edgar as a spoiled child, his refinement is tied to his helplessness and

22、 impotence.Charlotte Bront, in her preface to the 1850 edition of Wuthering Heights, refers to Edgar as “an example of constancy and tenderness,” and goes on to suggest that her sister Emily was using Edgar to point out that such characteristics constitute true virtues in all human beings, and not j

23、ust in women, as society tended to believe. However, Charlottes reading seems influenced by her own feminist agenda. Edgars inability to counter Heathcliffs vengeance, and his nave belief on his deathbed in his daughters safety and happiness, make him a weak, if sympathetic, characterThemes, Motifs

24、ThemesThemes are the fundamental and often universal ideas explored in a literary work.Moreover, Catherine and Heathcliffs love is based on their shared perception that they are identical. Catherine declares, famously, “I am Heathcliff,” while Heathcliff, upon Catherines death, wails that he cannot

25、live without his “soul,” meaning Catherine. Their love denies difference, and is strangely asexual. The two do not kiss in dark corners or arrange secret trysts, as adulterers do. Given that Catherine and Heathcliffs love is based upon their refusal to change over time or embrace difference in other

26、s, it is fitting that the disastrous problems of their generation are overcome not by some climactic reversal, but simply by the inexorable passage of time, and the rise of a new and distinct generation. Ultimately, Wuthering Heights presents a vision of life as a process of change, and celebrates t

27、his process over and against the romantic intensity of its principal characters.As members of the gentry, the Earnshaws and the Lintons occupy a somewhat precarious place within the hierarchy of late eighteenth- and early nineteenth-century British society. At the top of British society was the roya

28、lty, followed by the aristocracy, then by the gentry, and then by the lower classes, who made up the vast majority of the population. Although the gentry, or upper middle class, possessed servants and often large estates, they held a nonetheless fragile social position. The social status of aristocr

29、ats was a formal and settled matter, because aristocrats had official titles. Members of the gentry, however, held no titles, and their status was thus subject to change. A man might see himself as a gentleman but find, to his embarrassment, that his neighbors did not share this view. A discussion o

30、f whether or not a man was really a gentleman would consider such questions as how much land he owned, how many tenants and servants he had, how he spoke, whether he kept horses and a carriage, and whether his money came from land or “trade”gentlemen scorned banking and commercial activities.Conside

31、rations of class status often crucially inform the characters motivations in Wuthering Heights. Catherines decision to marry Edgar so that she will be “the greatest woman of the neighborhood” is only the most obvious example. The Lintons are relatively firm in their gentry status but nonetheless tak

32、e great pains to prove this status through their behaviors. The Earnshaws, on the other hand, rest on much shakier ground socially. They do not have a carriage, they have less land, and their house, as Lockwood remarks with great puzzlement, resembles that of a “homely, northern farmer” and not that

33、 of a gentleman. The shifting nature of social status is demonstrated most strikingly in Heathcliffs trajectory from homeless waif to young gentleman-by-adoption to common laborer to gentleman again (although the status-conscious Lockwood remarks that Heathcliff is only a gentleman in “dress and manners”).