Wuthering Heights


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(1847)



This story is narrated by Lockwood, a gentleman visiting the Yorkshire moors where the novel is set, and of Mrs Dean, housekeeper to the Earnshaw family, who had been witness of the interlocked destinies of the original owners of the Heights. In a series of flashbacks and time shifts, Brontë draws a powerful picture of the enigmatic Heathcliff, who is brought to Heights from the streets of Liverpool by Mr Earnshaw. Heathcliff is treated as Earnshaw's own children, Catherine and Hindley. After his death Heathcliff is bullied by Hindley, who loves Catherine, but she marries Edgar Linton. Heathcliff 's destructive force is unleashed, and his first victim is Catherine, who dies giving birth to a girl, another Catherine. Isabella Linton, Edgar's sister, whom he had married, flees to the south. Their son Linton and Catherine are married, but always sickly Linton dies. Hareton, Hindley's son, and the young widow became close. Increasingly isolated and alienated from daily life, Heathcliff experiences visions, and he longs for the death that will reunite him with Catherine.

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Unlike most novels, Wuthering Heights' protagonists are anti-heroes; the very antithesis of what a hero is supposed to be. Instead of compassionate and heroic, Heathcliff and Catherine are selfish and petty. Instead of being blissfully in love, Catherine marries someone else and breaks Heathcliff's heart. Too proud to tell each other their true feelings, they fight, storm and rage against each other, destroying themselves in the process. Most people dislike this novel, for its gloomy perspective, tragic outcome and psychological drama. However, Catherine and Heathcliff are perhaps more realistic than most other novel characters claim to be. They not only make mistakes, they cause debacles, completely devastate both people and places and ruin it all by blaming solely themselves. The novel begins when all four, including the narrator and housekeeper, are children. Catherine and Hindley are true blooded siblings, and Heathcliff is sort of "adopted" into their family. The plot unravels, and with it, the characters, blooming into bitterness and pride simply by being dishonest with each other. The entire drama is a destruction of a human soul; how love can save and damn one man. Brontë brings in a whole new perspective on love. It isn't the epic ballad in tales, or the beautiful quiet bloom between spouses; this is rampant, tragic and interbred with other less desirable qualities until it is no longer recognizable until the very end.--Submitted by Leyla Shakew

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An orphan brought home by a father to Wuthering Heights - a large rustic home on the moors - becomes a member of the family with complex emotional relationships with the father and his own children, Catherine and Hinton. The orphan, Heathcliff, finds his life totally changed after the father dies and Catherine makes friends with the refined Linton children of neighboring Thrushwood Grange. Entangled loves, marriages, sicknesses, births and deaths continue the dark story.--Submitted by Aloe

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One day in the 1770s, widower Mr Earnshaw comes back from town with a new brother for his children: a small, black boy whom he calls Heathcliff. Hindley, the son of the household, is not pleased, but Catherine, his sister, finds a playmate in this harsh boy. However, things will change severely when old Earnshaw dies and Hindley takes over the household with his wife. As Heathcliff is more and more reduced to servitude, Catherine becomes aware that she and Heathcliff will never be able to keep themselves if they marry and she accepts the proposal of an Edgar Linton, the wealthy owner of the nearby Thrushcross Grange. On a stormy night, Heathcliff walks off after hearing Catherine say that it would be a degradation to be married to him. He returns three years later wealthy and longing for revenge. Doing just that, he leaves a trace of disease, dissipation and violence behind him. At the crucial stage, though, everything is compromised and the novel ends with a note of bliss after all the gloom. Wuthering Heights is known for its great setting on the moors that were so important to its writer and for the extremity of Heathcliff as Byronic Hero. Although the work is bleak in places, it does not depress, certainly not if read to the end. A fantastic, un-Victorian and imaginative work that is embedded in English folk-tradition and literature.--Submitted by kiki1982

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Wuthering Heights, Emily Bronte’s only novel, is a harrowing tale of passion and tragedy with a sunny ending. This gothic book entwines romantic and eerie threads to form the ultimate heart-throbber. The story is told by two characters in the sidelines: Mr. Lockwood, the new tenant of the Grange, and Mrs. Dean, an old servant of the Earnshaw family. It recounts the saga of two star-crossed lovers, Heathcliff-a gypsy boy rescued from the streets of London by Mr. Earnshaw-and Catherine Earnshaw, Mr. Earnshaw’s daughter. Catherine’s older brother Hindley cruelly tyrannizes over Heathcliff after Mr. Earnshaw’s death, treating him worse than a servant. When Catherine becomes a woman and the suitors start calling, Heathcliff, destitute and illiterate due to Hindley’s cruelty, is no match for the rich and handsome Edgar Linton, owner of Thrushcross Grange. Heathcliff mysteriously disappears after overhearing Catherine’s low opinion of him, only to reappear two years later and disturb the married life of his love Catherine, who by now has become Mrs. Linton. The uncanny gypsy then spends the remainder of his unhappy life wreaking vengeance upon the multiple recipients who had hurt him in the past, including Catherine who killed them both by marrying for money. Wuthering Heights is the recounting of this tragic love story, and of happiness redeemed through the next generation.--Submitted by Constance de Montmorency

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On Wuthering Heights

ON WUTHERING HEIGHTS —Approaching Emily Bronte from a different perspective Author: Yongen He E-mail: Heyongn06@lzu.cn Or: Heyongn@126.com Abstract: The comments about Emily Bronte's only novel “Wuthering Heights” can be described as widely divergent. Generally speaking, it's the authentic love or the human nature on which critics' researches are based. However, this paper is intended to deny these viewpoints so as to further interpret this novel from an entirely different perspective by believing that the origins of the main characters in the story are not daily life and in this case, reveals that Emily Bronte's purpose of creating such a fanciful romance is to indicate her inner feelings through the conflicts between these artistic figures. Key words: spiritual-structure; intention; Heathcliff; Catherine; Linton; CONTENTS: 1 A BRIEF INTRODUCTION OF EMILY BRONTE AND WUTHERING HEIGHTS 1.1 INTRODUCTION OF EMILY BRONTE 1.2 INTRODUCTION OF WUTHERING HEIGHTS 2 THE GENERAL COMMENTS ON WUTHERING HEIGHTS 2.1 THE TWO GENERAL COMMENTS ON WUTHERING HEIGHTS 2.1.1 THE THEME OF WUTHERING HEIGHTS IS A LOVE TRAGEDY 2.1.2 THE KEY OF WUTHERING HEIGHTS IS AN EXPLORATION OF HUMAN NATURE 2.2 THE LIMITATIONS OF THE TWO COMMENTS 3 ON EMILY’S INTENTION OF CREATING WUTHERING HEIGHTS 3.1 ADVANCING THE INTENTION OF EMILY BRONTE 3.1.1 THE CLOSED STRUCTURE OF THIS NOVEL 3.1.2 THE INTENTION OF EMILY BRONTE 3.2 APPROACHING EMILY BRONTE FROM A DIFFERENT PERSPECTIVE 3.2.1 THE THEME OF WUTHERING HEIGHTS 3.2.2 HEATHCLIFF UNBOUND 3.2.3 THE SPIRITUAL–STRUCTURE OF WUTHERING HEIGHTS 4 THE END OF THIS THESIS 5 NOTES 6 REFERENCES FOREWORD: Wuthering Heights is the only novel written by Emily Bronte during her short life and is one of the best known works of English literature. However, when it is first published in 1847, early critics did not like the work, citing its excess of passion and its coarseness. The main reason for this was chiefly the creation of Heathcliff as people could not stand for such an inhumane evil. After more than half a century, when hardly anyone doubts the literary value of this book, critics are still arguing for Emily’s intention of writing such a book and still, their concern was usually focused on the judgment of Heathcliff, that is, how should people look upon this character? This argument remains unfinished till now. Another problem is the theme of this book. Every novel should have a theme but the theme to this novel is vague. People have different ideas about it. It could be explained as a love romance, a revenge story, an exploration of human nature, a mini reflection of class struggle, or a combination of some above. It is a problem since no interpretation can explain the novel without leaving something unconvincing as they have limitations here and there. Seemingly, Wuthering Heights has been analyzed from all possible perspectives; however, there is one neglected angle that is, art for art’s sake. This paper tries to figure out Emily’s initial intention and explain Heathcliff from the perspective of Emily-herself. In this paper, Heathcliff is regarded as part of the spiritual-structure Emily established in Wuthering Heights, that is to say, Heathcliff is nothing more than a tool used by Emily during the process of visualizing her vehement inner conflicts while her authentic purpose is to imply her pursuance of pure art of literature. 1 A BRIEF INTRODUCTION OF EMILY BRONTE AND WUTHERING HEIGHTS 1.1 INTRODUCTION OF EMILY BRONTE Emily Bronte, British poet and novelist of the 19th century, was born in Thornton, a small county in the north of Yorkshire, England, in the year of 1818. She moved to Haworth with her parents when she was two and their house was located at the top of the area. The weather of Haworth was inclement and the living conditions were rigorous. Her mother died soon. Emily’s father was very fond of literature and had a great influence upon Bronte sisters. About Emily’s life, there is little materials remained and most people believe that Emily is introverted and does not show her feelings easily, she is taciturn on appearance while at the same time has the most intensive passions inside. Emily has no experience of love affairs and has got through most of her fugacious life in an isolated circumstance with an irresistible love for the vast moors of Yorkshire. Except housework, she spends all her time on it. “……They (Bronte sisters) found great pleasure playing outside in the vast, rough, untouched moorland wilderness. This is especially so with Emily, who, a rather reserved and simple girl, was very much a child of nature. She was never tired of staying outside in the open moorland in all weathers and never at ease when she was away from it.” 263 It could be said that it’s the moors which present her with infinite inspirations to create Wuthering Heights and in fact, the background of this story is just this environment of asperity. 1.2 INTRODUCTION OF WUTHERING HEIGHTS Heathcliff, the hero of this story, is a foundling. He is adopted by the senior Earnshaw who lives in Wuthering Heights. After senior Earnshaw’s death, he is degraded as a servant and is badly mistreated by Hindley, the junior Earnshaw. However, Catherine, the daughter of senior Earnshaw and heroine of this story, loves him so deeply and regards him as her soul and vice versa. Although Catherine loves Heathcliff more than anything else, after accidentally meeting Edgar Linton, a patrician young man who lives in Thrushcross Grange, she feels that it would demean her if she got married with him. Overhearing Catherine’s inner contradiction, the degraded Heathcliff is irritated and then disappears. Losing her lover, Catherine falls into serious illness and then marries Linton after recovering. Three years have past since then, Heathcliff returns to Wuthering Heights and behaves like a gentleman. Tortured between her former lover and her present husband, Catherine dies soon in childbirth after a last meeting with her soul. Full of sadness because of Catherine’s death, Heathcliff retaliates mercilessly upon his enemies but still cannot bear the separation from Catherine; he starves himself to death to meet his lover. The novel finishes with a blissful marriage of Cathy and Hareton, another pair of lovers. 2 THE GENERAL COMMENTS ON WUTHERING HEIGHTS 2.1 THE TWO GENERAL COMMENTS ON WUTHERING HEIGHTS With its incomparable beauty of haggardness and affection, Wuthering Heights wins its grand position in the literature world and is widely regarded as a most fantastic product of the world of English literature. Yet, it’s far from easy to understand this confusing novel as commentators can hardly agree on what that it wants to tell us. “In the world of English classical literature, Wuthering Heights has long been regarded as one of the most indigestible works. People call Emily Bronte as ‘the Sphinx of our modern literature, which is to say, she’s an enigma.” * 263 It’s just because of those confusions that the appraisements about Emily Bronte are various. For example, Emily was considered as an occultist or a phantast and even a homosexuality with spiritual damages! (The author of this paper could hardly agree with any of these appraisements). But the general comments about Wuthering Heights is either based on love affection or society, and the latter’s perspective is usually focused on human nature. 2.1.1 THE THEME OF WUTHERING HEIGHTS IS A LOVE TRAGEDY Indeed, the contents of Wuthering Heights are mainly about the overwhelming passions of extreme love and hatred among those characters. “……As a love story, this is one of the most moving: The passion between Heathcliff and Catherine proves the most intense, the most beautiful and at the same time the most horrible passion ever to be found possible in human beings.” 274 But the passion between Heathcliff and Catherine is too unique and bizarre to be described as ordinary love. In this case, some critics believe that Emily is willing to understand love from a different perspective, for example, they consider the passion between Heathcliff and Catherine as: “……This (the passion between H and C) is not only an in-depth dissection of Emily’s inner feelings, but implies Emily’s unique understandings of love based on her inimitable philosophic belief.” * 298 Generally speaking, people with this idea believe that Wuthering Heights is mainly about a love romance. 2.1.2 THE KEY OF WUTHERING HEIGHTS IS AN EXPLORATION OF HUMAN NATURE The love between Heathcliff and Catherine is exceptional, then how shall we think of the animosity committed by Heathcliff? In other words, what does Emily want to inform us by introducing such an evil character? About this question, critics’ ideas are usually based on human nature. For example, they think of this from a social point of view such as: “……The novel is a riddle which means different things to different people. From the social point of view, it is a story about a poor man abused, betrayed and distorted by his social betters because he is a poor nobody.” 274 Comments based on class-consciousness are a typical of this kind: “……The men and women of "Wuthering Heights" are not of the imaginary world, but the world that Emily Bronte knew and their struggles against oppression is symbolic of the never-ending struggle in class society.” 193 So far as morality is concerned, there are comments like this: “Wuthering Heights is a challenge to the stodgy and snobbish ethos of the Victorian period, which is seemingly peaceful and tranquil, while Heathcliff and Catherine are rebellions against the old-fashioned traditional moral systems.” * 297 There are also comments which dismiss class-consciousness and concentrated only on the issue of virtue and evil such as: “With a keen and sensitive artistic insight and with a unique conception over ordinary ones, through the complex and implicative story, Emily explores the ‘human nature’ that interests her. It can be confirmed that it is human nature that goes through the whole book.” * 7 2.2 THE LIMITATIONS OF THE TWO COMMENTS But it’s very difficult to draw a convictive conclusion of this novel if we take either or both of the above comments while trying to understand Emily Bronte, which is, it could only make the novel much more complicated and confusing. Mr. Fang, the translator of the Chinese version of Wuthering Heights, writes in his forward: “……The most perplexing of this unique book is probably that the authoress not only expressed directly the intense opposition but implied the ambiguous transformation and unification of ‘love’ and ‘hate’. Emily shares the same feelings with us while at the same time conserves her distinctive opinions which go far beyond ordinary ideas. In this case, I think the theme has two sides as well as the visualization of the characters. Considering the novel as a whole, we distinguish a line, through which the plots follow, and have explored the in-depth meanings, but when we want to attempt the other plot line to study the twinborn theme, we are encountered numerous obstacles as if we are trapped in a rugged, rocky trail while trying to climb a perilous peak. For about one and half a centuries, this novel has been changing its melodies the way of the music of modernism.” * 17 If the first line is the passion between Heathcliff and Catherine, then the second one is definitely the so-called ‘human nature’. With the limits of the above two aspects, neither of the themes could explain Wuthering Heights positively and perfectly: could we think of our love only and dismiss moralities at all? Or should we sacrifice our true-selves to fictitious moral-standards? Emily seems to make no compromise between the two, thus, the disputation is never at ease in the past one more hundred years. About the theme, there are dozens of other viewpoints or comments such as those from psychoanalysis, class struggle, clash of element forces etc. They will not be touched here for they are more or less discussion for discussion’s sake and are less acceptable. Then, what is Emily’s real intention of creating Wuthering Heights? This paper will try to provide with a convincing answer in the following discussion. 3 ON EMILY’S INTENTION OF CREATING WUTHERING HEIGHTS 3.1 ADVANCING THE INTENTION OF EMILY BRONTE 3.1.1 THE CLOSED STRUCTURE OF THIS NOVEL Written in the Victoria period, the story of Wuthering Heights takes place in a closed environment against the real world which is seemingly placid but actually one of the most dramatic with fast economic growth and serious social contradictions such as the passing of the political power, the mass exploiting of colonies, the rising of the Chartist Movement, the crisis of religion and racial problems. All these had greatly influenced people’s inner world. However, so far as Wuthering Heights is concerned, we could hardly feel those vehement changes (this book may probably take any kind of society as its background). “Most novels imply the characteristic of its time ……but Wuthering Heights is an exception.” * 399 In fact, the narration of Wuthering Heights is almost (if not completely) separated from the outside world, so we can hardly interpret it from a viewpoint of society as they are so dissimilar. Since the very beginning, through a nightmare, the readers are led by Mr. Lockwood to an entirely isolated world (we’ll know later that it’s the spiritual world of Emily Bronte) and the following whole story is restricted in it. In this world of fantasy, everything is so riddling such as four-footed fiends, fulminatory storm, rolling snow in the sky and ghost on the moors and so on. Readers are puzzled as to say: “No one knows what makes her imagining such a world, but, covered with her exterior solitude, there must be some mysterious and forever vigorous inner activities which she also expresses in her poems.” * 284 We may describe this strange world with a Chinese verse like “not knowing the whole of Lushan Mountain as we are inside of it.” Emily skillfully hides her intention in this bizarre world. “We know Emily is extremely introverted and seldom confides her feelings in daily communication, but what she pours out in this book she has not expressed and seldom anyone ever shows such violent passions; she must needs veil herself carefully.” * 5 This above remark may suit very well Emily’s reserved natures and indeed, she has successfully achieved her goal of obscurity and it is probably just this obscurity that leads to those dissimilar understandings of Wuthering Heights. This paper will attempt to remove all these obscurities in the following discussion. 3.1.2 THE INTENTION OF EMILY BRONTE The closed environment of Wuthering Heights is, in fact, corresponding with Emily’s spiritual world. To support this, the author of this paper brings forth a new concept, namely “spiritual-structure”; the components of this structure are the three main figures in Wuthering Heights: they are Catherine Earnshaw, Heathcliff and Edgar Linton. Based on an audacious hypothesis, the first one is regarded to be the very avatar of Emily herself and the other two represent Emily’s desire of authentic art and of natural love between man and woman respectively. The conflicts of these fictitious figures are but the monologues of Emily Bronte in her deepest heart, on what she should seek after with her life as a whole. Being a poet, Emily takes the form of novel (not poem) to express her inner feelings. The reason of advancing spiritual-structure here is just because all the three characters are considered to be originated from and are intended to reflect Emily’s inner-world instead of the outside one; in a word, they have nothing to do with neither moral nor society. This concept (further discussed later in this thesis) is the key to the understanding of this paper. With this new concept, we may comprehend Wuthering Heights from an entirely different perspective and draw a conclusion that Emily’s intention of creating Wuthering Heights is to, implicitly, give voice to her reserved feelings and the theme of Wuthering Heights is a pilgrimage to the world of art. 3.2 APPROACHING EMILY BRONTE FROM A DIFFERENT PERSPECTIVE 3.2.1 THE THEME OF WUTHERING HEIGHTS It is generally believed that one of the themes of Wuthering Heights is a love tragedy of Catherine and Heathcliff; however, as the story goes on, one can scarcely compare the passions between the two to ordinary love of man and woman. There are explications and implications here and there in this novel signifying that Catherine and Heathcliff belong to the same soul. How should we look upon this information? Is it the most intense passion of common love or is there something else Emily wants to tell us? The author of this thesis believes in the latter. It’s a long and perhaps painful process for Emily Bronte, an ordinary Irish girl, to grow into an outstanding poet. This process is recorded in this book. The story begins with the Earnshaw family who live in Wuthering Heights which is located on the side of a hilltop. The family enjoy a harmonious life until the intrusion of a sallow, rugged foundling—Heathcliff whom Mr. Earnshaw (the senior) picks up in the streets and brings back home. This intrusion symbolizes the time when Emily begins to establish her dreams of literature in reality. Heathcliff’s past remains a mystery in the book, but through his name, we may practically relate him to the moors of Yorkshire, on which Emily had spent almost all her life, and thus, subordinate him to a part of Emily’s spiritual world which is completely removed from the stir of the outside one. From an angle of pure art, Emily gives birth to such an unreasonable figure in this story while her main purpose is to pour out her restless soul through the activities of Heathcliff. In the end, finished his tasks, Heathcliff is called back to Emily’s spiritual world. That is to say, Heathcliff has no original shape in reality. Absolutely, Emily’s true intention is not to create a merciless devil so as to give an effect of antipathy; we should not look upon Emily like this. A poet is unable to dispute his or her feelings. With a seemingly quiet appearance, lonely Emily suffers from her most severe inner passions just like Catherine Earnshaw cannot reject Heathcliff and regards him as her soul. In this case, Catherine is the embodiment of Emily herself. Among the first generation of lovers, Edgar Linton and Isabella Linton are fairly idealized personalities in real world. Linton is handsome, tender, virtuous and rich while Isabella gorgeous, loving and with high positions. But why Emily has to expose them to the talon of Heathcliff without leaving any illusion to the readers? Let’s find out the reasons from the spiritual-structure. If Heathcliff comes from the artistic side of Emily’s inner world, then the Lintons must originate from the other side of reality. They symbolize Emily’s aspirations to the attractive romances of real world as a common girl. In the novel, these aspirations are expressed by Emily through Catherine Linton’s love of Edgar. Thinking alone on the wide moors, Emily is selecting painfully between the two sides (this poor girl may not even have a chance to be in love as she does not experience any love affairs in her short life according to the limited materials we have now), she may have already recognized the answer that she does not belong to the latter. In Wuthering Heights, this selection takes place in the five weeks during which Catherine was recovering from her hurts in Thrushcross Grange. Though Heathcliff is her soul, Catherine Earnshaw still feels an ordinary love, that is, Edgar Linton, an aristocratic young gentleman. Catherine tries to make a compromise between her soul and reality but failed as Heathcliff disappears and is not heard for three years (which implies that the pursuance of art needs to be devoted fresh and fell). After an astonishing description of soulless Catherine, this figure at last betrays her nature and becomes Catherine Linton. We should have noticed that such composition goes quite well with its mental and physical backgrounds and could be considered perfect in everyday life. To become Catherine Linton, she depresses her true natures temporarily and spends three years’ tranquil and perplexed life in the Heights and with Linton until the reappearance of Heathcliff. (Being a girl, does Emily ever have some feelings of perplexities about her life? Does she ever long for sweet love?) Exactly the same as the first time, Heathcliff comes back mysteriously. After a transitory separation from her soul, Catherine Earnshaw has to select once more. This time, she gets back to her soul and is determined to be reunited with him without yielding to reality any more. This is Catherine Earnshaw’s final decision before she dies. The description of this dramatic selection is in Chapter 11. After Nelly tells Linton how Heathcliff rascally tempts Isabella, the long repressed abhorrence between Heathcliff and Linton at last bursts out. But Catherine manages to turn the conflict to be a duel (because this is the inner conflicts of Emily); she locks the door and flings the key into fire. Linton is beaten down completely: “…… ‘Fair means!’ she (Catherine) said…… …… ……whereupon Mr. Edgar was taken with a nervous trembling, and his countenance grew deadly pale. For his life he could not avert that access of emotion: mingled anguish and humiliation overcome him completely. He leant on the back of a chair, and covered his face.” 94 Emotionally, this behavior is immoral as a cheating wife asks her infirm husband to duel with her strong lover. But it has nothing to do with morality if this duel takes place in Emily’s inner world. Since after, Catherine is no longer belongs to Linton (which implies Emily’s selection): “‘I shall never be there, but once more,’ said the invalid (Catherine); ‘and then you’ll leave me, and I shall remain for ever. Next spring you’ll long again to have me under this roof, and you’ll look back and think you were happy to-day.’” 110 The most exciting moment is definitely the death scene of Catherine Earnshaw, when Heathcliff seizes the chance to see his dying heart. If their first union at the very beginning could be treated constrainedly as common love (surely, the author of this paper does not think so), then this time, it’s absolutely a far cry from it. The combination is full of truculence and turbulence like an outbreak of volcano with hardly any senses. The passions finally lead Catherine Earnshaw to death and the whole narration reaches its emotional climax. Emily Bronte may want to release her passions toward literature by this means and ennoble her spirits so as to be combined with pure art forever. From this perspective, it could be assumed that the theme of Wuthering Heights is Emily’s aspiration to seek pure art. Yet, the aspiration and combination with art is surely a long and agonizing process, especially for those who are doomed to exist only for the sake of art. Shall we think of the second half of the novel from this point of view? Let’s continue our discussion. 3.2.2 HEATHCLIFF UNBOUND Heathcliff is the core of the whole story, but the question is, does Emily want to explore human nature through the portrayal of this figure? If the exploration of human nature is Emily’s initial intention, then, why doesn’t she take the society of her time to be the background of this work just like her contemporaneous writers do? For it is perfectly appropriate to look into human nature based on such a society of great changes. But as far as Wuthering Heights is concerned, one can hardly know the historical conditions to which it belongs if no extra introductions are given. Human nature is a concept of abstraction with historical meanings and has to be defined against the level of development of a certain society. It has properties of class and sociality; without them, it’s meaningless and is absolutely impossible to define, let alone to explore it. During the about fifty years after its publication, the novel received a lot of iniquitous criticisms such as “a terrific story, associated with an equally fearful and repulsive spot”, “It is a compound of vulgar depravity and unnatural horrors”, “we rise from the perusal of Wuthering Heights as if we had come fresh from a pest-house … but burn Wuthering Heights” and so on, and the reason for this is exactly the humanistic criterion of the novel. After the appreciation of the artistic value of Wuthering Heights, human nature is still the main material on which critics’ comments are based and the focus is surely Heathcliff. “Once the literary value of Wuthering Heights is discovered, critics are faced with such a mission: how shall we convincingly demonstrate Heathcliff’s value as a man? Or how could we look upon him from a different perspective and retrieve him from the image of daimon?” * 22 The author of this paper believes that it is infructuous to save Heathcliff if morality is the concern. What he does is definitely evil no matter how much excuses could be presented According to spiritual-structure mentioned, the background of Wuthering Heights is a natural environment which symbolizes Emily’s inner world but not any real ones, so we should try to assume into Emily’s spiritual world to see if there are some evidences to help us reconsider this figure. Let’s analyze the spiritual-structure again. As is discussed above, through the conflicts and the resolution of these conflicts of Catherine Earnshaw, Heathcliff and Linton, Emily has expressed her lifelong pursuance of pure art implicitly, but this seems not enough. Being a poet, Emily may still want to give expressions to all the agonies from which an authentic poet should suffer in the practices of dedicating to his or her careers. Sitting lonely and quietly on the moors, Emily Bronte psychologically endures pains that are brought to her by her own spirit, but how could she convey all these painfulness in her novel (it might be much easier to tell those feelings in the form of poem as she does)? It is Heathcliff that finally completes all the tasks. For Emily Bronte, pure art is above reality. Catherine and Heathcliff in the end reject every thing in ordinary world. At last they are united together and such unification is so inconceivable in the eyes of Nelly, a character on behalf of a woman in reality. “In her eagerness she rose and supported herself on the arm of the chair. At that earnest appeal he turned to her, looking absolutely desperate. His eyes wide, and wet at last, flashed fiercely on her; his breast heaved convulsively. At instant they held asunder, and then how they met I hardly saw, but Catherine made a spring, and he caught her, and they were locked in an embrace from which I thought my mistress would never be released alive: in fact , to my eyes, she seemed directly insensible. He flung himself into the nearest seat, and on my approaching hurriedly to ascertain if she had fainted, he gnashed at me, and foamed like a mad dog, and gathered her to him with greedy jealousy. I did not feel as if I were in the company of a creature of my own species: it appeared that he would not understand, though I spoke to him; so I stood off, and held my tongue, in great perplexity.” 131 An implication covered by this description hints at Emily’s selection of her literary soul. Since after this union, the subject that runs through the second half of the novel is actually a poet’s progress (borrowed from Pilgrim’s Progress by Bunyan) which Emily must undergo. The last words Catherine leaves to Heathcliff turn out to be fetters put on his body. It seems that he has no choice but fulfill Catherine’s will to destroy all those in reality that she had been reluctant to dismiss. Catherine Earnshaw, a girl, half savage and hardy, and free, and lived in Wuthering Heights has died, there is only a Catherine loafing on the moors finding her home, she could not enter Wuthering Heights as she is still Catherine Linton, she will wait to become Catherine Heathcliff to stay forever in the Heights (the twenty years’ waif corresponds with Heathcliff’s revenge on the two families). In this imaginative world, Catherine Linton becomes Catherine Heathcliff as she chooses such a violent way (by dying) to cut away from her common love (the love for Edgar Linton) and to be waiting (as a ghost) for the final union with her soul (Heathcliff) for good; maybe in the real world, under a veil of an apparently peaceful life, Emily Bronte achieves her psychological sublimation and is united forever with her spirit of a poet on the vast moors of Yorkshire the same way. Approaching from this perspective, what contains in the second half of the book is Emily’s inner progress or, to be more exact, her self-sacrifice to literature; while Heathcliff is just the very symbolization of this odyssey. Emily’s artistic spirits need to abandon a lot so as to reach eternal just as Catherine Earnshaw in the story. Again, morality and human nature are concepts used to appraise the behaviors between men and men, but all the stories in this book take place in Emily’s inner world, in this case, they have nothing to do with society, nor with morality. So we no longer look upon Heathcliff the way Isabella does: “Is Mr. Heathcliff a man? If so, is he mad? And if not, is he a devil?” 111 And Heathcliff is no longer evil just as what he told before he dies: “‘……as to repenting of my (Heathcliff) injustices, and I repent of nothing-I am too happy, and yet I'm not happy enough. My soul's bliss kills my body, but does not satisfy itself.’” 271 Heathcliff is actually an epitome of literature and Emily’s life-long pursuance. The figure is unbounded. 3.2.3 THE SPIRITUAL–STRUCTURE OF WUTHERING HEIGHTS The death of the three main characters embodies the three phases of development of Emily’s inner world. The first is the selection of her literary soul; the second is her painful departure from common love and the third is the ultimate union with literary art. The three phases also correspond with the three Catherines in the novel (Catherine Earnshaw, Catherine Linton and Catherine Heathcliff). The calmness of Catherine’s death is quite unusual: “……and hers (Catherine) of perfect peace. Her brow smooth, her lids closed, lips wearing the expression of a smile; no angel in heaven could be more beautiful than she appeared.” 134 This description is illogical as Catherine was half mad before she dies and her ghost would be a waif drifting on the moors for twenty more years. Notice that, before the death of Heathcliff, she is still Catherine Linton so far (Catherine Linton dose not belong to Wuthering Heights, she’s rejected); and that twenty years previous in the story was roughly the time before Catherine got married with Edgar in Thrushcross Grange. “…… ‘Catherine Linton,’ it replied shiveringly (why did I (Lockwood) think of Linton? I had read Earnshaw twenty times for Linton). ‘I’m come home: I’d lost my way on the moor!’ …… ‘It is twenty years,’ mourned the voice: ‘twenty years. I’ve been a waif for twenty years!’ ……” 20 What can we discover from the descriptions of Catherine’s death scene? We may understand like this: the theme of Wuthering Heights has been exhibited after the death of Catherine Linton, who symbolizes reality and Emily’s love as a common girl, while a spirit of super-realism is left in the story waiting for the final union with Heathcliff, the avatar of pure art, after a painful departure. With the help of Heathcliff and the sequent stories (how suffocating they are!), Emily visualizes her unavoidable sacrifices for her aspiration. The perfect peace of Catherine corresponds with the death scenes of Linton and Heathcliff, the two, as well die illogically, especially Edgar Linton. Knowing Cathy, whom he loves more than anything else in his life, has been under Heathcliff’s talon, how possibly could he die blissfully? Here is the narrative from Nelly: “…… He died blissfully, Mr. Lockwood: he died so. Kissing her check, he murmured, ‘I am going to her; and you darling child shall come to us; ’and never stirred or spoke again; but continued that rapt, radiant gaze, till his pulse imperceptibly stopped, and his soul departed. None could have noticed the exact minute of his death, it was so entirely without a struggle. ……” 231 So far, having finished his task, Edgar Linton, the representation of Emily’s common love, is withdrawn to her spiritual world. Before long, Heathcliff, the visualization of art, also dies as he too, has fulfilled his missions of expressing Emily’s inner world. The activities that Heathcliff performed before he dies are surely bewildering. Judged with the principles of morality, how comes such a merciless devil turn to be reluctant to complete his “revenge”? Most likely, it’s Emily’s intention to arrange this dramatic monologue. The three figures are the foundations of the spiritual-structure; they are born from Emily’s extreme contradictions inside her heart: whether to be compromised with ordinary life or sacrifice to eternal art. She gives them birth within the novel, and imperturbably takes them back to her spiritual world after the narration of her progress towards the perpetual combination with art. All the conflicts throughout the fiction are actually a virtual romance deeply inside her heart. Two details in the novel are worth our attention: one is that Heathcliff manages to prowl near Catherine’s catafalque and exchanges Linton’s hair in a locket hung round her neck, which is noticed by Nelly: “……Indeed I (Nelly) shouldn't have discovered that he (Heathcliff) had been there, except for the disarrangement of the drapery about the corpse's face, and for observing on the door a curl of light hair, fastened with a silver thread; which, on examination, I ascertained to have been taken from a locket hung round Catherine's neck. Heathcliff had opened the trinket and cast out its content, replacing them by a black lock of his own. I twisted the two, and enclosed them together.” 137 The other is the description of the tombs of the three by Mr. Lockwood, when he stands in front of them, which is also the end of the whole novel: “I sought and soon discovered, the three headstones on the slope next the moor: the middle one grey, and half buried in heath; Edgar Linton's only harmonized by the turf, and moss creeping up its foot; Heathcliff's still bare. I lingered round them, under that benign sky: watched the moths flattering among the heath and hare-bells; listened to the soft win breathing through the grass; and wondered how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth.” 275 What shall we think about such descriptions? Now, the story seems to come to an end, yet the entanglements of the three may even last into the next world: people may still encounter their ghosts on the moors. In the quiet earth are the unquiet slumbers and behind the slumbers is Emily’s restless soul: “…… So stood I, in Heaven's glorious sun, And in the glare of Hell; My spirit drank a mingled tone, Of seraph's song, and demon's moan; What my soul bore, my soul alone Within itself may tell! …… ” In the end, the paper has to touch on the second generation of lovers; they are Cathy, Hareton and Linton Heathcliff. We’ll begin with Linton Heathcliff. Perhaps the most detestable figure in the whole story is Linton Heathcliff, the tool of his father. Without him, Heathcliff’s revenge on Edgar could hardly be possible. Here is a question: How comes that there ever exists an offspring of Heathcliff and Isabella Linton? If we exam the context carefully, we can scarcely believe that Heathcliff would have a sexual lust toward Isabella Linton, let alone give birth to a baby! So Linton Heathcliff is just a tool like many others in the book which is created by Emily Bronte to fulfill this virtual romance and means nothing more. The sensation between Hareton and Cathy is absolutely common love; they are true lovers with compromises to each other. But their love affairs are disassociated from the spiritual structure of the novel, that is, it’s not the theme of Wuthering Heights. Emily Bronte affirms others’ love in reality as she leaves Thrushcross Grange to the pair, but leaves herself in Wuthering Heights. Emily Bronte refused any treatments in serious illness and went on her artistic creation even in her last days, almost the same as Catherine did in the novel. Catherine, Heathcliff and Linton have returned to Emily’s spiritual world and left us with endless imaginations. 4 THE END OF THIS THESIS Wuthering Heights could be described as a classic masterpiece no matter from what angle such as technique, conception, exhibition, artistic values and its legends. Scarcely anyone denies that Wuthering Heights is first of all a poem compared with other novels partly because Emily herself is a poet and partly because one can rarely feel such intensive passions in others except this one. While Emily’s true intention is hidden so deeply inside the book that we can hardly understand what it is, and the author of this paper merely wants to offer another method to discuss Wuthering Heights and to know Emily Bronte well, if possible. There are other characters such as the senior Earnshaw and Hindley that are not touched in this paper not because they are unimportant but the author wants to find out more details before discussing them (they seem to have something to do with Emily’s family and thus, do have corresponding originals in reality). Since the author’s limited knowledge of English culture, literature as well as the language itself, there must be a lot of mistakes, misunderstandings and improprieties, in this case, all constructive criticisms are sincerely welcome. 5 NOTES . Zhang Baixiang, “Selected Readings in English and American Literature,” Foreign Language Teaching and Research Press, China, 1998 . . The Chinese version of “Wuthering Heights” translated by Fang Ping, Yiwen Press, Shanghai, China, 2001. . Lin Guangya, “A Short History of Foreign Literature,” Chongqing Press, China, 1983. . Fan Cunzhong, “A Syllabus of the History of English Literature,” The People’s Press, Sichuan Province, China, 1983: p298. . Yang Jingyuan, “Research of Bronte Sisters,” China Social Science Press, 1983: 399. . I. Evans, “A Short History of English Literature,” the Chinese version translated by Cai Wenxian, The people’s Literature Press, China, 1984: 284. . Emily Bronte, “Wuthering Heights,” The World Book Publication Co., Xi’an, China, 1999. . Charlotte Bronte, Emily Bronte, Anne Bronte, “Poems by Currer, Ellis, and Acton Bell,” London: Aylott and Jones, 8, Paternoster Row, 1846. p. 153-155. 6 REFERENCES: 1. I. Evans, “A Short History of English Literature,” the Chinese version translated by Caiwenxian, The people’s Literature Press, China, 1984. 2. Emily Bronte, “Wuthering Heights,” The World Book Publication Co. Xi’an, China, 1999. 3. The Chinese version of “Wuthering Heights”, translated by Fang Ping, Yiwen Press, Shanghai, China, 2001. 4. Fan Cunzhong, “A Syllabus of the History of English Literature,” The People’s Press, Sichuan Province, China, 1983. 5. Lin Guangya, “A Short History of Foreign Literature,” Chongqing Press, China, 1983. 6. Yang Jingyuan, “Research of Bronte Sisters,” China Social Science Press, 1983. 7. Zhang Baixiang, “Selected Readings in English and American Literature,” Foreign Language Teaching and Research Press, China, 1998. 8. Charlotte Bronte, Emily Bronte, Anne Bronte, “Poems by Currer, Ellis, and Acton Bell,” London: Aylott and Jones, 8, Paternoster Row, 1846. p. 153-155. Note1: This paper is my unpublished B. A. degree paper (a small potato’s idea is usually and easily ignored by …) written about eight years ago. Now I’d like to share and discuss ideas with anyone who is truly interested in this novel. You may borrow ideas from this paper but a reference is a MUST. Note2: Some of the references (marked '*') in this paper are translated (from Chinese) by myself as it was difficult, when I was writing this paper, to find the original materials. My Blog: http://cid-8fe539936bbb1707.spaces.live.com/


If Heathcliff had a facebok page...

If Heathcliff (from Wuthering Heights) had a facebook page what groups do you think he would use, what would his favorite music, movies, books, tv shows and quotations be. What would his wall look like =)? Discuss!


Hi! Could anybody help with Wuthering Heights?

Hi, guys! My name is Romy and I just registered for for this forum because I am desparately looking for some help on Wuthering Heights and Jane Eyre. I am currently working on an essay which should be about the comparison of the nature/culture conflict in Wuthering Heights and Jane Eyre referring to the love relationships of Heathcliff-Catherine-Edgar and Mr.Rochester-Jane-St.John. Could anybody help, please? I am absolutely stuck...:crash: Cheers!


HELP!!! I am doing an essay on Wuthering Heights can you help me!!!

Hi, At the moment I am doing a essay about how emily bronte has portrayed wuthring heights and thrushcross grange as being very different places in chapter 1 and 6 of the novel? Does anyone have any comment to help me i really would love some. i have the idea that it is so that Cathys choice she has to make between Heathcliff and Edgar Linton but i cant think of any thing else. please get back to me as quick as you can. Thanks.


Wuthering heights

hey ppl cn any 1 tell me bout d matching n cntrasting themes in wuthering heights n wat z their role in d novel.Neeeeeeed help.


Film Versions of Wuthering Heights.

Film Versions of Wuthering Heights. Part 1. M. Heger, her teacher in Brussels, expressed the view that Emily ought to become a philosopher: she had “a head for logic, and a capability of argument, unusual in a man, and rare indeed in a woman.” (1) Martha Nussbaum in her analysis argues: “Bronte's description alluded to the imagery of the Christian ascent tradition. As in Augustine and Dante, love is a flame that animates the eyes, a lighting bolt that pierces the fog of our obtuse daily condition; as in tradition, love's energy causes the lover to leap away from petty egoism of the daily into an ecstatic and mutually loving embrace. But we know we are far from the world of the Christian ascent, even its erotic Augustinian form. Cathy's spring is not an upward, but a horizontal movement – not toward heaven, but toward her beloved moors and winds, severed from which she would find heaven miserable; not toward God but toward Heathcliff, the lover of her soul.”(2) What is true of Cathy is even more so of Emily. Thus Wuthering Heights can be read not only as a novel but even more so as allegorical to Emily's philosophy, and as philosophy it invites a multiplicity of interpretations. Especially when the interpretations are artistic, as in the medium of film. DVD's of Wuthering Heights David T in Wuthering Heights films (http://wuthering-heights.co.uk/watch.htm), does a very good job in listing the available versions of Wuthering Heights films. In his own words -” I try to avoid as much as possible general criticism of the version such as acting, direction, script, etc. since these are a matter of opinion and mine is no more preferable to anyone else. Instead I examine the objective aspects of the versions such as how much of the novel it covers, how accurate the characters and locations are, etc.” My view is, since the brain processes the written word substantially different from how it processes the visual image, the translation of a novel is an adaptation and requires different aesthetic judgments. In Sympathy for the Devil, Lin Haire-Sargent analyzes four translation of Wuthering Heights into film: William Wyler, Wuthering Heights, 1939, available as a DVD. Luis Bunuel, Un Chien Andalou, 1954, available in DVD. Robert Fuest, Wuthering Heights, 1970, available as a DVD. Peter Kaminsky, Wuthering Heights, 1992, available as a DVD. *Jacques Rivette, Hurlevent, 1985, available as a DVD. *Jacques Rivette's, Hurlevent, is not discussed by Lin Haire-Sargent. I include it for it's unusual treatment of the novel, transposed to the French countryside. “With his usual enigmatic and detached manner, Jacques Rivette breezes through Bronte’s dense source material. The film begins with a dream sequence, which quickly introduces the theme of passion and violence. As seen here, Rivette does not illustrate the character’s emotion, but rather sets the tone for each sequence and let the story unfold from there. Not the kind of narrative we’re used to, but the final payoff is rewarding ("Howling Wind"!). With its elegant circular motion and restrained (but lush) colors, once again Renato Berta’s cinematography is gorgeous. Rivette and Berta’s only collaboration makes this a must see!”- Chashire Cat in Netflix reviews. Lin Haire-Sargent makes a very important distinction of a novel translated to the film medium: “Bronte's means to greatness were linguistic; the filmmaker's must be visual. Where the novelist's words spark individual, intimate mind pictures in each reader, the filmmaker must define the images on the screen, the same for all viewers, and in doing so ground the story in time and space – the time and space in which the movie is filmed, not that in which the story is set. In these ways and others, the filmmaker creates a work of art separate from the “original” yet connected in an intimate way. So we should not judge a movie made from a book as a copy. Rather, we should evaluate whether the movie communicates something of the book's particular art. Then we should ask by what means the art is communicated, since it must be communicated by analog. Finally, we should tender the most important question; does the film succeed as a work of art in it's own right? If it does, it creates its own sufficient reason for being. If it does not, it can be criticized not only as a failed film but as a failed adaptation: every departure from the novel becomes a fault. And even a great movie based on a novel has one irredeemable flaw: it is not the novel.“(3) The above should be read twice, since many object that the film does not faithfully depict every word/scene of the book and that criticism is a gross misunderstanding of the translation of a novel into a film. William Wyler's Wuthering Heights. “In his adaptation, Wyler goes a long way towards solving the problem of Heathcliff with casting: Lawrence Olivier plays Heathcliff like Heathcliff playing Lawrence Olivier. The young Olivier delivers a bravura turn as an anesthetized brute whose intelligence takes him on forays into psychological sympathy...the Wyler/Olivier version gives the strongest analog of Heathcliff's felt emotion, the injustices endured and absorbed, the repressed passion and rage. The film is holographic; every frame, in narrative content and composition, contains the whole story. Wyler controls a black-and-white palette of exquisitely shaded tonality; … the luminously glowing whites, the engulfing blacks, and the shimmering grays eloquently express emotional and spiritual nuance. The story is considerably truncated in the 103-minute version. Lockwood … the family he encounters is not the second generation Earnshaws and Littons – that story has been cut. Rather it is Isabella, Nelly Dean, Joseph, and a softened Heathcliff – who, when, reminded of his manners, responds with urbane irony: “I hardly know how to treat a guest – I and my dog.” and himself offers Lockwood lodging. The story of the entanglements of Heathcliff, Cathy, Edgar, and Isabella, is followed through to Cathy's death. Then there is a return to the frame story. As Nelly concludes her tale, Dr. Kenneth comes in out of the blizzard. He has found Heathcliff's body by Penistone Crag after having seen a vision of him and Cathy. The film ends with a long shot of Heathcliff and Cathy ascending Penistone Crag together. To get from Joseph's presentation - “the bridal chamber” to Lockwood's reaction, the camera pans across what seems an immense expanse of dingy, candle-lit wall. The meaning of this emphasis on space is not the claustrophobia of the interlocking narratives and the closed worlds of the Heights and the Grange that really exist in Bronte's pages, but rather an edgy agoraphobia that at once contains its opposite and suggest its transcendence. Another paradox: in the novel, Heathcliff and Cathy are characterized by violent movement – motion equals emotion. In the film Cathy and Heathcliff, the most tempestuous of lovers, are portrayed through the poetics of immobility. There is one scene in the film that brilliantly deploys the narrative's two lines of emotional symbolism, the agoraphobic use of space and the burning paralysis of the lovers. In a scene that does not appear in Bronte's book Edgar and Cathy give a ball at Thrushcross Grange. The scene begins with dance music, then a fade to a moving shot as the camera pans up over a stone wall for an exterior view of Thrushcross Grange, recalling an earlier scene where prelapsarian Heathcliff and Cathy spied on just such a ball. With Cathy's marriage to Edgar she has become part of this world, while Heathcliff, though mysteriously transformed into a gentleman, remains shut out. Through brilliantly lit windows we can glimpse dancing couples. Then there is a fade to the interior scene shown through an ornate mirror. Lighting is high key, focus is deep. The camera fixes its gaze on the entrance door; the footmen admit Heathcliff, in impeccable evening dress, a tall black column against the hard white surfaces of the ballroom. A bit latter he stands immobile behind a seated Isabella; ...There is an extended close-up of a somber Heathcliff; we know where his unswerving gaze is directed. Cut to a close-up of Cathy. She is a snow woman with her white bared shoulders, and her apparel might be ice. ..She is like an ice sculpture, especially when Heathcliff's gaze freezes her. Then, though she struggles against it, her eyes are drawn to him. Such is the force of his gaze that it draws not only Cathy's notice but the notice of the crowd. The resulting voyeuristic heat is extraordinary. Will Cathy melt? In Wyler's rationale for fabricating this scene we see his genius as a filmmaker.”(3) Luis Bunuel's Abismos de Pasion “In 1954, a quarter of a century after, Luis Bunel made a low-budget black-and-white adaptation of Wuthering heights called Abismos de Passion. Bunel has no problems buying sympathy for Heathcliff, in this version called Alejandro (jorge Mistral). He makes him a much better person than Emily Bronte did, and he makes Edgar Litton character much worse. Abismos de Passion covers a narrower time span than any other version of Wuthering Heights.... This gives Bunel space to explore what clearly interest him most: the mesh of emotions among the five love-hate entangled siblings and lovers Alejandro, Catalina, Isabella, Eduardo, and Hindley character Ricardo. Bunel's version is unique in that the latter three characters are as fully developed as the first two. He both simplifies and moralizes their stories (in such a way as to remind us that opera's conventions are more in tune with Bunel's Spanish culture than Bronte's Anglo-Celtic roots, valorizing the heroic instinctual masculinity of Alejandro on one hand, the faithfulness of the wronged wife Isabella in the other. The opening of the film sets Bunel's simplifying moral tone. … We are offered this introduction:'These characters are at the mercy of their own instincts and passions. They are unique beings for whom the so called social conventions do not exist. Alejandro's love for Catalina is fierce and inhuman feeling that can only be fulfilled through death.' 'Inhuman', 'instinct' and 'fierce' are the key words here, for the trope in this movie is animal. All the principal characters are identified both as animal predators and as prey- visual correlates of their cruelty to each other.” (3) Catalina kills buzzards - “I kill them with one shot. They pass to death's liberty without feeling anything.” Alejandro's cruelty is depicted by the crushing of a butterfly and “a bit latter, the leisurely piercing of the insect with a pin (we are reminded that in Aztec lore, butterflies were the souls of the dead. … The climax of cruelty occurs at the moment when Catalina swears to Eduardo that she will never again seek out Alejandro. A close-up of her proud smile; cut to the grimace of a terrified pig being roughly dragged to slaughter. We escape only as its throat is slit.” If Bunel's staging is operatic, if use of animal symbolism is essentially literary, still his most masterful effects are achieved through purely cinematic means. Through subtle manipulation of light and repetition of similarly composed shots, he builds up our sense of the transcendent relation of Catalina and Alejandro, and in doing so gains sympathy for Alejandro.” “There is a cluster of images and associations here: Catalina equals light, and light stands for absolute union with the beloved, the kind of union that is impossible except in memories of shared childhood paradise, and in death. This question holds true in Bronte's book too. In spirit, if emphatically not in letter, Bunuel has been true to Bronte.”(3) Emily's Wuthering Heights from the day of publication has generated controversy, of Heathcliff's character, of the nature of Cathy's love, of the thematic structure of the novel, whether the two parts suggests an ethical division and above all what was Emily's intent. That there doesn't exist a single plausible answer is attested by the film adaptations of the novel. Thus the question is whether the adaptations are true to Emily's meaning, not whether they are true to the prose. The most radical of these interpretations, the one that deviates most from the words, is Abismos de Passion. By all means see the film. Failing that read the full review by Vincent Candby. http://movies.nytimes.com/movie/review?_r=1&res=9C03EFD91538F934A15751C1A965948260 He captures the uniqueness of the adaptation, conscious that Buenel remains true to Bronte's intent. Abismos de Pasion (1953), review by VINCENT CANBY, December 27, 1983 Love and Revenge WUTHERING HEIGHTS , (Abismos de Pasion), directed by Luis Bunuel; screenplay by Mr. Bunuel, Arduino Maiuri, and Julio Alejandro de Castro, based on the Emily Bront"e novel; director of photography, Agustin Jimenez; edited by Carlos Savage; music by Wagner adapted by Raul Lavista; produced by Oscar Dancigers; released by Plexus Film. In Spanish with English subtitles. At the Public, 425 Lafayette Street. Running time: 90 minutes. This film is not rated. CatalinaIrasema Dilian AlejandroJorge Mistral IsabelLilia Prado EduardoErnesto Alonso OF all of the Mexican films that Luis Bunuel made for the mass market of Spanish- speaking audiences, his 1954 screen adaptation of Emily Bronte's ''Wuthering Heights,'' called ''Abismos de Pasion'' when released in Mexico, is probably the work that's most full of riches for those of us who consider Bunuel one of the great film directors of all time. ….. ''Abismos de Pasion'' - the Spanish title seems much more appropriate than the Bronte original - is an almost magical example of how an artist of genius can take someone else's classic work and shape it to fit his own temperament without really violating it. This ''Wuthering Heights'' is nothing if not Spanish in its tone. It's also Roman Catholic down to its toes in the way that it reflects the particular obsessions of the self-described nonbeliever who made it.... It's still the tale of the mystical, all- consuming love of the well-born Cathy (here named Catalina) for her childhood sweetheart, the handsome, rudely tyrannical, former stable boy, Heathcliff, renamed Alejandro by Bunuel. The English moors are now the barren hills of rural Mexico and what once seemed to be a romantic rebellion against the genteel manners of Anglican England has now become a darker, timeless war between the forces of light and darkness. Alejandro (Jorge Mistral) is driven not just by his love of Cathy and desire for revenge against the family that humiliated him as a boy. He has, as subsidiary characters say more than once, made a pact with the Devil, and we may well believe it. This is actually a far more reasonable explanation of how, during a mysterious absence, he acquired the enormous wealth that he now uses to humble his former masters. After all, rude, unmannerly stable boys don't easily become rich overnight. Catalina (Irasema Dilian) is also a far gutsier, far less sentimental character than Merle Oberon's Cathy, who seemed primarily motivated by the willfulness of a pampered child. In Bunuel's scheme of things, the love that flows between Alejandro and Catalina is so strong - and so beyond analysis in any ordinary emotional or sexual terms - that we can take it that she is part of any pact that Alejandro may or may not have made with anyone, including Beelzebub. When Catalina announces that she loves Alejandro ''more than the salvation of my soul,'' the point is to shock the Roman Catholic audiences as much as the other characters within the film. Bunuel, of course, never makes any reference to the Devil without a wink of mock astonishment. In an opening message to the audience he tells us that what we're about to see is a story about characters at the mercy of their instincts and passions. To Catalina's faithful husband, Eduardo (Ernesto Alonso), and to his sister, Isabel (Lilia Prado), who loves Alejandro and, unfortunately, marries him, passions and instincts represent a hideous state of pre-Christian damnation. Eduardo and Isabel are believers. They are among the saved. They are civilized, a point with which Bunuel has a good deal of fun as he shows us the studious Eduardo carefully pinning a live butterfly to a mat and Isabel out on a morning stroll, shooting vultures. If the civilized are more savage than the heathen, Bunuel would prefer the company of the lost. There's also an astonishing amount of self-awareness in Bunuel's Catalina and Alejandro. They accept their fate as lovers who will go beyond the grave together with an unemotional kind of placidity. When Catalina warns Isabel not to marry Alejandro, it's not because she is jealous but because she knows that Isabel will be crushed casually and without anything that might be called redeeming malice - Isabel will have simply gotten in the way of fate. At key moments, Miss Dilian displays a terrific fondness for the smug, self-satisfied smile, but that is a convention of the melodramatic acting of the time. She looks like any number of other blond Mexican actresses Bunuel used at this period of his career, representing an idealization later to be exemplified in the talent and the grand, chilly beauty of Catherine Deneuve in ''Belle de Jour'' and ''Tristana.'' Mr. Mistral is a more than adequate Alejandro, though his handsomeness appears to be that of a Latin American spinoff of Victor Mature.... Among the other reasons that ''Abismos de Pasion'' is not to be missed is the film's final sequence, which is just as breathtaking as the final sequence of ''Tristana'' - and even more outrageous. References. 1.Juliet Baker, The Brontes (London: Orion 1994) 2.Martha Nussbaum, Philosophy and Literature 20 (1996), Hopkins University Press. 3. Lin Haire-Sarbeant, Sympathy for the Devil: The Problem of Heathcliff in Film Versions of Wuthering Heights.


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