AELIT
Conflict and Narrative Structure in Wuthering
Heights
An introductory report into the employment of these and the effects thereof
in Emily Bronte’s 1847 Wuthering Heights
Todd Apisampinvong, Matthew Blacker, James Dingley
Semester Two, 2015
0.1
Abstract
Report: Conflict and Narrative Structure
This report explores how conflict and narrative structure are developed in Wuthering Heights and how this advances
key themes and ideas. Such issues are discussed with relation to both contemporary and period audiences.
Todd Apisampinvong, Matthew Blacker, James Dingley
AELIT
0.2
Words
Total:
4 790
Body :
3 124
Word Limit:
Word Limit +10%:
3 000
3 300
1
1
The term ‘body’ refers to all of the sections less the abstract, contents page, introduction, images, bibliography, quotes and
footnotes.
While footnotes are not strictly necessary they provide valuable relevant background information, references, history and
scientific studies.
0.3
Contents
0.1
Abstract ............................................................................................................................................................. 0
0.2
Words ................................................................................................................................................................ 1
0.3
Contents ............................................................................................................................................................ 2
1.0
Introduction ..................................................................................................................... 4
1.1
Definitions ......................................................................................................................................................... 4
1.1.1
Conflict ...................................................................................................................................................... 4
1.1.2
Narrative Structure ................................................................................................................................... 4
1.2
Overview ........................................................................................................................................................... 4
1.2.1
Plot ............................................................................................................................................................ 4
1.2.3
Conflict ...................................................................................................................................................... 4
1.2.3
Narrative Structure ................................................................................................................................... 5
2.0
Key Conflicts ..................................................................................................................... 6
2.1
Conflict Between Heathcliff and Hindley .......................................................................................................... 6
2.1.1
Overview ................................................................................................................................................... 6
2.1.1.1
Evolution of Conflict .................................................................................................................................. 6
2.1.1.2
Role of Narrative Structure ....................................................................................................................... 6
2.1.2
Contribution to Themes ............................................................................................................................ 6
2.1.2.1
Cycle of abuse and Revenge ...................................................................................................................... 6
2.1.1.2
Class .......................................................................................................................................................... 7
2.2
Conflict between Heathcliff and Edgar ............................................................................................................. 8
2.2.1
Overview ................................................................................................................................................... 8
2.2.1.1
Evolution of Conflict .................................................................................................................................. 8
2.2.1.2
Role of Narrative Structure ....................................................................................................................... 8
2.2.2
Contribution to Themes ............................................................................................................................ 8
2.2.2.1
Revenge ..................................................................................................................................................... 8
2.2.1.2
Class Conflict ............................................................................................................................................. 9
2.2.1.3
Jealousy ..................................................................................................................................................... 9
2.3
Conflict Between Heathcliff and Catherine .................................................................................................... 10
2.3.1
Overview ................................................................................................................................................. 10
2.3.1.1
Evolution of Conflict ................................................................................................................................ 10
2.3.1.2
Role of Narrative Structure ..................................................................................................................... 11
2.3.2
Contribution to Themes .......................................................................................................................... 11
2.3.2.1
Nature of Love ......................................................................................................................................... 11
2.3.1.2
Impact of Greed....................................................................................................................................... 12
2.4
Conflict Between Heathcliff and Isabella ........................................................................................................ 13
2.4.1
Overview ................................................................................................................................................. 13
2.4.1.1
Evolution of Conflict ................................................................................................................................ 13
2.4.1.2
Role of Narrative Structure ..................................................................................................................... 13
2.4.2
Contribution to Themes .......................................................................................................................... 13
2.4.2.1
Gender ..................................................................................................................................................... 13
2.4.1.2
Revenge ................................................................................................................................................... 13
2.4.1.2
Nature of Love ......................................................................................................................................... 13
2.5
Conflict Between Cathy and Hareton ............................................................................................................. 14
2.5.1
Overview ................................................................................................................................................. 14
2.5.1.1
Evolution of Conflict ................................................................................................................................ 14
2.5.1.2
Role of Narrative Structure ..................................................................................................................... 14
2.5.2
Contribution to Themes .......................................................................................................................... 14
2.5.2.1
Class ........................................................................................................................................................ 14
2.6
Conflict Between Wuthering Heights and Thrushcross Grange ..................................................................... 15
2.6.1
Overview ................................................................................................................................................. 15
2.6.1.1
Evolution of Conflict ................................................................................................................................ 15
2.6.1.2
Role of Narrative Structure ..................................................................................................................... 15
2.6.2
Contribution to Themes .......................................................................................................................... 15
2.6.2.1
Growing up and Identity ......................................................................................................................... 15
2.6.1.2
Portrayal of Class..................................................................................................................................... 16
2.7
Catherine’s Internal Conflict ........................................................................................................................... 16
2.7.1
Overview ................................................................................................................................................. 16
2.7.1.1
Evolution of Conflict ................................................................................................................................ 16
2.7.1.2
Role of Narrative Structure ..................................................................................................................... 16
2.7.2
Contribution to Themes .......................................................................................................................... 17
2.7.2.1
Greed ....................................................................................................................................................... 17
2.7
Heathcliff’s Internal Conflict ........................................................................................................................... 18
2.7.1
Overview ................................................................................................................................................. 18
2.7.1.1
Evolution of Conflict ................................................................................................................................ 18
2.7.1.2
Role of Narrative Structure ..................................................................................................................... 18
2.7.2
Contribution to Themes .......................................................................................................................... 18
2.7.2.1
Revenge ................................................................................................................................................... 18
3.0
Conclusions .................................................................................................................... 19
3.1
Summary ......................................................................................................................................................... 19
3.2
Authorial Comment......................................................................................................................................... 19
4.0
Bibliography ................................................................................................................... 20
1.0
Introduction
This report’s purpose is to discuss the narrative structure and conflicts present in Emily Brönte’s Wuthering Heights,
and their contribution to meaning. In this report each conflict will be presented, discussing its evolution, the role of
narrative structure in its development, and meanings constructed.
1.1
Definitions
1.1.1 Conflict
Conflict is the struggle between opposing forces, such as that between the protagonist and antagonist2.
1.1.2 Narrative Structure
Narrative structure is the content and structure of a story, being the order and emphasis of a text. It refers to the point
of view, order of events, tone of narrative, the development of ideas and conflicts, and how these are resolved.
1.2
Overview
1.2.1 Plot
Wuthering Heights is a tragic, slightly morbid love story between two
childhood lovers, Catherine Earnshaw and Heathcliff, who grow up on
the Yorkshire moors. When Catherine marries another man, Edgar
Linton, Heathcliff seeks revenge upon the families of the Earnshaws and
Lintons.
1.2.3 Conflict
Conflict between characters, society and the internal exist within
Wuthering Heights. The key conflicts are developed in detail with their
impact on themes discussed.
2
Conflict Type
Character
Conflict
2.1 Heathcliff and Hindley
2.2 Heathcliff and Edgar
2.3 Heathcliff and Catherine
2.4 Heathcliff and Isabella
2.5 Cathy and Hareton
Social
2.6 Heights and Grange
Internal
2.7 Catherine Internal
2.8 Heathcliff Internal
Diagram A
An understanding of character relationships is central to
an understanding of the conflicts within the text itself
Table A
Overview of the relevant conflicts in relation to their
respective type and location within this report
These protagonists and antagonists can be characters, concepts, or indeed within the character themselves.
1.2.3 Narrative Structure
Wuthering Heights has a complicated, layered
narrative structure, involving many narrators and
flashbacks. Lockwood is an outsider, like the
audience, and acts as an external narrator3. He is the
frame narrator, which Brönte presents multiple
stories within. Nelly Dean here is the interpolated
narrator, recounting the story of Heathcliff and
Catherine to Lockwood4. Nelly gathers some
information from other sources, providing multiple
points of views on what had taken place, making it so
there is no ‘definitive’ version of the story. Each
narrator has their own distinguishing ‘voice’, with
Lockwood, as an educated narrator5 demonstrated
by his tone and use of language. His narration is somewhat snobbish,
imposing his ideas on others and often misinterpreting them6.
Conversely, Nelly’s narration is less-sophisticated, but full of life and
energy, engaging the reader.
Diagram B
Levels of narrative within Wuthering Heights
The story’s events exist in multiple layers, mainly using flashbacks. Lockwood enters the isolated world of Wuthering
Heights just before the resolution of the unfolding ‘drama’, dropping readers into the middle of the story and engaging
their natural curiosity.
3
He is not however omniscient or unbiased. Some of his assumptions help develop the presentation of conflict early in the text.
Within this, there are other narrators, including Catherine through her diary entries and Isabella in her letter.
5
A prime example of this is his phrasing of “I have not inconvenienced you by my perseverance in soliciting the occupation of.”
6
Observing the relationship between Cathy and Hareton with “she has thrown herself upon that boor, from sheer ignorance
that better individuals existed! A sad pity --I must beware how I cause her to regret her choice…..I knew, through experience,
that I was tolerably attractive"
4
2.0
Key Conflicts
2.1
Conflict Between Heathcliff and Hindley
2.1.1 Overview
The conflict between Heathcliff and Hindley throughout the text develops Heathcliff’s obsession with revenge. Hindley
acts as the primary antagonist early in the novel. Hindley, like Heathcliff, acts out of a need for revenge. This also
impacts on Heathcliff’s relationship with Hindley’s son.
2.1.1.1 Evolution of Conflict
Nelly notes that “from the very beginning [Heathcliff] bred bad feeling in the
house.” Hindley is jealous of the favourable treatment Heathcliff receives,
regarding him “as an usurper of his parent's affections, and his privileges”.
Hindley physically reprimands Heathcliff, the latter using Mr. Earnshaw’s
favouritism to fulfil his desires. Hindley takes revenge following his father’s
death, degrading Heathcliff to a servant, leading to further consequences7.
Upon Heathcliff’s return, he sponsors Hindley’s alcoholism and gambling,
funding Hindley’s deterioration.
Image A
Hindley takes revenge on Heathcliff by degrading him to
servant status
2.1.1.2 Role of Narrative Structure
By exploring the conflict with several narrators and flashbacks it appears almost mythological, helping depict revenge
as destructive, making it a moral tale. This is aided by Heathcliff’s lack of narrative voice. Nelly, the moral voice, initially
sympathises with Heathcliff, but later changes her tune8. The conflict reaches its climax when Heathcliff, the original
victim, physically dominates his childhood oppressor, the conflict coming into full circle.
2.1.2
Contribution to Themes
2.1.2.1 Cycle of abuse and Revenge
This conflict shows the impact of revenge, with it emotionally crippling Heathcliff and Hindley. Both parties
demonstrate their desire for revenge, Heathcliff saying "I'm trying to settle how I shall pay Hindley back…..I hope he
will not die before I do!", and Hindley exclaiming "Oh, damnation! I will have it back; and I'll have his gold too; and
then his blood; and hell shall have his soul!” The needless, destructive endless cycle of conflict between Hindley and
Heathcliff comments on how revenge will never satisfy, and in fact cause more misery, with the example of Hindley,
who’s revenge on Heathcliff
ends up backfiring and causes
him to lose everything. This is
poignant to period and
modern readers.
Image B
A similar criticism of revenge is present in Wuthering Heights
7
One of the most significant consequences of this being Catherine not being able to love him due to his lower status.
This makes the readers view both Hindley and Heathcliff as victims, showing that conflict, especially between Heathcliff and
Hindley, negatively affects both sides.
8
2.1.1.2 Class
Hindley calls Heathcliff a “beggarly interloper” and a
“gypsy”, both crude comments about his birth. Despite
Heathcliff being taken in by the Earnshaws, Hindley still
feels that he is somewhat “better” than him. This is part
of the implicit acceptance of class values within the
text, which a modern reader disagrees with.
Diagram C
An interpretation of the cycle of revenge
2.2
Conflict Between Heathcliff and Edgar
2.2.1
Overview
Established early, the conflict between Heathcliff and Edgar persists throughout much of the text arising over social
status and love of Catherine.
2.2.1.1 Evolution of Conflict
Initially Heathcliff views Edgar as a pathetic, snobbish child, but they become rivals for Catherine’s love.
Images C and D
Edgar (left) forms
a stark contrast to
Heathcliff (below)
in
physical
appearance
Heathcliff feels inadequate compared to Edgar, wishing for “light hair
and a fair skin, and was dressed and behaved as well, and had a chance
of being as rich as he will be".
After Catherine rejects him, Heathcliff seeks revenge upon
Edgar. Heathcliff is now more dominant and causes conflict
between the couple, subdues Isabella and brings Edgar’s
daughter into his power.
Edgar’s death ends the conflict.
2.2.1.2 Role of Narrative Structure
The rapid reversal of Heathcliff’s fortune from mocking Edgar with Catherine to watching on as Catherine is ‘stolen’
from him emphasises the shock Heathcliff feels.
Nelly’s physical descriptions portrays the rivals differently. Edgar has “long light hair curled slightly on the temples; the
eyes were large and serious; the figure almost too graceful”, contrasting to Nelly’s characterisation of childhood
Heathcliff as “a dirty, ragged, black-haired chid”. These most basic of oppositions, light versus black, and graceful
versus ragged, quickly establish their dissimilarities. While neither description is positive, Nelly’s disapproving tone
portrays her negative bias toward Heathcliff, demonstrating how he has been disadvantaged.
2.2.2
Contribution to Themes
2.2.2.1 Revenge
Heathcliff likens himself to “The tyrant [Who] grinds down his slaves - and they don't turn against him, they crush
those beneath them” intentionally promoting dispute.
Edgar can’t stand Heathcliff, complaining to Catherine that "'It is disgraceful that she should own him for a friend, and
force his company on me!'" Heathcliff responds "'Cathy, this lamb of yours threatens like a bull!' he said. 'It is in danger
of splitting its skull against my knuckles.'". Both refer to Catherine as a mediator, demonstrating their competition for
her attention.
Heathcliff’s criticisms of Edgar here use animal-based metaphor9 and simile10, serving to illustrate and degrade;
reducing Edgar to an animal.
Modern readers are particularly sensitive toward dehumanisation11 combined with Edgar being referred to as a ‘slave’
characterising Heathcliff as much crueller. Readers feel shocked over how revenge has shaped Heathcliff into a vile,
unlikeable character.
9
Edgar is Catherine’s “lamb”
Edgar “threatens like a bull”
11
in contrast Elizabethan England still viewed slaves as little better than animals themselves
10
2.2.1.2 Class Conflict
Clear opposition between the backgrounds of the two suggest various class conflicts and differences.
Seeing the childhood Lintons argue over petting a dog, Heathcliff describes “The idiots! That was their pleasure! To
quarrel who should hold a heap of warm hair, and each begin to cry because both, after struggling to get it, refused to
take it.”
Heathcliff criticises the nature of the wealthy with the Lintons being petty. The dismissive, derogatory language of this
dialogue reveals Heathcliff’s disregard for Edgar as he views the opposition between a pampered house dog,
contrasted by the hunting animals of the Heights.
When Heathcliff returns and visits the Grange, Edgar12 suggests “the kitchen as a more suitable place for [Heathcliff]”
over the house itself; degrading Heathcliff to a common servant because of his lesser heritage.
For both contemporary and period audiences the primary readership of the novel would be wealthy, well-educated
individuals. Portraying these groups as pathetic makes these readers initially empathise with Heathcliff’s sentiment,
and through this consider their own actions.
2.2.1.3 Jealousy
Heathcliff is quick to retaliate against Edgar, revealing his jealousy of him.
“[Heathcliff’s hair] It's like a colt's mane over his eyes!' [Edgar] ventured
this remark without any intention to insult; but Heathcliff's violent nature
was not prepared to endure the appearance of impertinence from one
whom he seemed to hate, even then, as a rival. He seized a tureen of hot
apple sauce (the first thing that came under his gripe) and dashed it full
against the speaker's face and neck”
The ironic use of “hot apple sauce” (a traditional condiment of
celebration) as a weapon is particularly effective.
Image E
A Christmas Carol has
shaped
the
modern
interpretation of Christmas
12
Charles’s Dickens’ A Christmas Carol13 was published only five years
before Wuthering Heights14 so the destruction of this literary perception
of Christmas would emphasise this theme of jealousy to a period
audience.
Representing the wealthy elite
Considered as a driving force behind how a modern Christmas is celebrated
14
A Christmas Carol was written In 1843, as opposed to Wuthering Heights (1847)
13
2.3
Conflict Between Heathcliff and Catherine
2.3.1
Overview
Fractures appears in Heathcliff and Catherine’s relationship when she begins interacting with the Lintons.
2.3.1.1 Evolution of Conflict
Heathcliff and Catherine begin their relationship as two
sides of the same coin15. However, Catherine changes
after spending five weeks at the Heights. This is strained
by Catherine’s friendship with Edgar and her acceptance
Edgar’s marriage proposal results in Heathcliff fleeing
from the Heights.
Image F
Catherine and Heathcliff’s
early relationship is Edenic;
blissful
and
drawing
strongly from nature
Upon his
revenge
between
Heathcliff
return, Heathcliff seeks to take
on Catherine. The conflict
the two is heightened by
and Edgar’s competition for
Catherine, and her competition with Isabella for Heathcliff.
The two reveal their love and anger for the other, the height of the conflict. But this is the night of Catherine’s passing
after the birth of her daughter, leaving the conflict unresolved.
Heathcliff then internalizes this conflict16, dealing with his grief.
15
The relationship may also be described as Edenic, due to their close relationship with nature. This is developed with several
allusions to the story of the Garden of Eden throughout Bronte’s text.
16
See “Conflict between Heathcliff and himself” for further elaboration.
2.3.1.2 Role of Narrative Structure
Nelly, as an outside narrator, is able to witness and describe the change in Heathcliff and Catherine’s relationship
following her time at the Linton’s.
Nelly’s position at the Grange with Catherine and the Heights17 with Heathcliff allows the reader to witness each
character’s emotions due to her role as a confidant for both sides18.
2.3.2
Contribution to Themes
2.3.2.1 Nature of Love
While as children "the greatest punishment we could invent for her was to keep her separate from him" later their
relationship grows sour. At the novel’s climax Heathcliff yells "Why did you despise me? Why did you betray your own
heart, Cathy?", these rhetorical questions highlight the dangers of the intense love felt by the two; a healthy
relationship is unsustainable purely by this kind of love19.
Stricken with grief over Catherine’s death Heathcliff proclaims "I cannot look down to this floor, but her features are
shaped on the flags! In every cloud, in every tree - filling the air at night, and caught by glimpses in every object, by
day I am surrounded with her image!", the anthropomorphisation revealing his suffering. To both contemporary and
modern audiences, this sends a stark warning.
Diagram D
An imbalance of the kinds of love can lead to
problems – as witnessed in Wuthering Heights
17
Following Catherine’s death after the birth of her daughter, Cathy.
By many, these features are seen as two of the impracticalities of the novel. That they would reveal so much to a servant, and
allow her to witness some of their more passionate interactions, is somewhat unlikely.
19
This is one of the many kinds of love depicted in the story. It is juxtaposed to Catherine’s relationship with Edgar. However,
none of these loves are solely conducive to happiness – many together are required for one to be happy.
18
Diagram E
Heathcliff’s stages of grief after losing Catherine
shows the love he had for her
2.3.1.2 Impact of Greed
Influenced by Edgar’s wealth, Catherine’s choice to marry him is the major spark for her conflict with Heathcliff. When
Catherine explains her decision, Nelly observes "He [Heathcliff eavesdropping] listened till he heard Catherine say it
would degrade her to marry him, and then he stayed to hear no farther."
When Isabella too expresses interest in Heathcliff20, Catherine tells her that "[Heathcliff would] be quite capable of
marrying your fortune and expectations. Avarice is growing with him a besetting sin". This conflict with Heathcliff
shows her greed for both Edgar and Heathcliff to be damaging.
When Catherine tells Heathcliff "Remember, this neighbour's goods are
mine", this breaks the juxtaposition between herself and Heathcliff’s desire
for power, this greed21 further building conflict with Heathcliff.
Bronte criticises greed by showing how it has created conflict between these
two lovers. This conflict leads to Catherine’s psychological breakdown.
Image G
In Albert Camus’ essay The Rebel, he compares
the evolution of Heathcliff’s love of Catherine to
a rebel and his disenchantment with his cause
20
After Heathcliff’s return from disappearing for three years, an older Isabella expresses romantic interest in him.
This shows Catherine expressing greed for power, a sort of greed mainly associated with Heathcliff throughout the text.
However, this is not the first time she displays such desires – her marriage to Edgar was also heavily motivated by a drive for
social influence.
21
2.4
Conflict Between Heathcliff and Isabella
2.4.1 Overview
The conflict between Heathcliff and Isabella is significant, allowing Isabella to mature, demonstrating Heathcliff’s true
nature and constructing meaning.
2.4.1.1 Evolution of Conflict
Heathcliff treats Isabella as a means to an end, to take revenge upon Edgar. Isabella becomes “Edgar’s proxy in
suffering”. Whilst their conflict is not personal, Heathcliff thoroughly detests
and abuses her, amusing himself with “experiments on what she could endure,
and still creep shamefully cringing back!’”. Eventually Isabella leans to hate him,
taking an active part in the conflict by verbally attacking
him following Catherine’s death. Their relationship
Image H
The romance between Heathcliff
deteriorates to one of violence and hate.
and Isabella is quickly lost
2.4.1.2 Role of Narrative Structure
The conflict between Isabella and Heathcliff is mainly told through Isabella’s letters and recounts. Isabella’s letter
provides authenticity, and helps characterise Heathcliff. Isabella’s narration has a childish tone, emphasizing her youth,
encouraging readers to empathize with her more22. Isabella’s disillusionment with Heathcliff, shown by “…Is Mr.
Heathcliff a man? If so is he mad? If not is he the devil?” reflects the reader’s alienation from Heathcliff due to his
growing violent nature. This implies Heathcliff is so ferocious his humanity comes into question.
2.4.2
Contribution to Themes
2.4.2.1 Gender
In this conflict Isabella is objectified, and used as a means to an end. Brönte also comments on her capacity for “great
attachments”, but additionally courage when Isabella stands up to Heathcliff and derides him. From Isabella gaining a
“sense of satisfaction and superiority” when looking at her male companions, modern resistant readers would suggest
this shows the superiority of woman to men. Primarily, the acceptance of Heathcliff’s abuse implicitly condones the
Victorian roles of women.
2.4.1.2 Revenge
Isabella compares Heathcliff’s malevolent nature due to his lust for revenge to that of a dangerous beast, as seen from
“a tiger or a venomous serpent could not rouse terror in me equal to that which he wakens". This metaphor
demonstrates the destructive impact of revenge. Heathcliff treats Isabella poorly, as a means of
achieving revenge on Edgar. This effect on the life of another party demonstrates its significant
impact.
2.4.1.2 Nature of Love
Isabella is immediately drawn to the ‘new’ Heathcliff upon his return, viewing him as a Byronic23.
“hero of romance”, despite him saying “I wish that I had the hanging
Image I
of every being belonging to her except one”. She struggles to lose these
Jasper Fforde describes Heathcliff
as a romantic (Byronic) hero in his
‘Thursday Next’ novels
22
This changes from her portrayal as a spoilt snob early in the novel.
The Byronic hero is a character in literature who appears attractive to some, despite being dark, moody and antisocial.
Typically, such characters have some redeeming features – the irony being that Heathcliff does not.
23
misguided opinions. Moreover, after they elope, she is unable to escape his reach24. This associates love with
entrapment, and indeed Isabella’s only escape is death.
2.5
Conflict Between Cathy and Hareton
2.5.1 Overview
The conflict between Cathy and Hareton is a minor conflict in the latter half of the text, and disperses at the text’s
resolution. Nevertheless it develops both their relationship and themes.
Image J
Hareton has a rugged appearance
associated with servants
2.5.1.1 Evolution of Conflict
Cathy first meets Hareton when she ventures beyond the limits of the Grange
to the Heights. She initially mistakes Hareton for a servant, refusing to believe
they are cousins.
Whilst trapped at the Heights, Cathy grows resentful of those around her,
ridiculing Hareton’s attempts to raise his intellect. She finally relents, and
Hareton’s forgiveness resolves the conflict.
2.5.1.2 Role of Narrative Structure
Nelly’s relationship with Cathy allows the conflict to be explored by the latter. The quick resolution of the conflict
demonstrates it is based mostly on Cathy’s misinterpretations of Hareton due to her early judgemental nature.
2.5.2
Contribution to Themes
2.5.2.1 Class
Cathy, a spoilt upper class child, looks down upon Hareton and is quick to judge that he is a servant due to his
appearance. She commands him to “get my horse”, and following his retort she threatens to “tell papa”, characterising
her stereotypically spoilt nature. Catherine mocking Hareton’s efforts to read portrays the upper class as cynical of the
lower class. Through Cathy’s reaction to learning of their relation, Brönte comments on the intolerance for the lower
class. This behaviour is criticised by modern readers with egalitarian values.
24
Even after Isabella flees to London, Heathcliff can call her or their son back at any moment.
2.6
Conflict Between Wuthering Heights and Thrushcross Grange
2.6.1
Overview
A binary opposition between Thrushcross Grange and Wuthering Height is developed through their physical
descriptions. Whilst the Heights are linked to childhood and nature, the Grange is related to adulthood and society.
The interactions between their inhabitants creates conflict.
2.6.1.1 Evolution of Conflict
This conflict is implicitly present in the opening chapters, where the tension between Lockwood of the Grange and the
occupants of the Heights is palpable.
In the main narrative, the opposition arises when Heathcliff and Catherine stumble upon the Linton's residence – and
here the latter begins her transformation into adulthood.
The contrast between Catherine and Edgar’s life at the Grange and Hindley and Heathcliff at the Heights builds this
conflict. This is continued in the next generation, when Cathy meets Linton and Hareton. When Cathy and Hareton25
marry at the conclusion of the text, this resolves this conflict by uniting both of the settings.
Thrushcross Grange
Socially acceptable
Civilised
Repressed emotional side
Wealth
Wuthering Heights
Natural upbringing
Rustic, animalistic
Passionate
Emotional connection
Table B
Comparison between The Grange and
The Heights
2.6.1.2 Role of Narrative Structure
The use of Lockwood as the narrator is key to the immediate presentation of the conflict. Lockwood fits the socially
accepted, civilised mould of the Grange, metonymic for society, as opposed to the wilder characters who inhabit the
Heights. Hareton "looked down on [Lockwood]… as if there were some mortal feud unavenged between us", the
hyperbole emphasizing the conflict.
The use of letters and secondary sources is used to juxtapose these different settings.
2.6.2
Contribution to Themes
2.6.2.1 Growing up and Identity
Catherine’s identity is heavily linked to her settings, and the conflict between them. Returning from her initial five
week stay at the Grange "instead of a wild, hatless little savage jumping into the house… [she returned] a very dignified
person, with brown ringlets falling from the cover of a feathered beaver". This characterisation links the Heights to
childhood, and the Grange to maturity and adult life.
As an adult26 Catherine longs for the Heights27, dreaming: "'I thought I was lying in my chamber at Wuthering Heights….
Oh, I'm burning! I wish I were out of doors - I wish I were a girl again, half savage and hardy, and free… and laughing
at injuries, not maddening under them!'"
25
Each descendants of The Grange and The Heights respectively
And living at The Grange
27
Symbolic of her childhood
26
The opposition between the settings highlights the importance of childhood, and access to youthful pleasure in
adulthood. This criticism is particularly effective for period readers due to the Romantic Movement28 present during
this time.
2.6.1.2 Portrayal of Class
The Grange is depicted as "A splendid place carpeted with crimson, and crimson-covered chairs and tables, and a pure
white ceiling bordered by gold, a shower of glass-drops hanging in silver chains from the centre, and shimmering with
little soft tapers", whilst "[at the Heights] the great room with its smooth, uncarpeted floor", the setting showing a
distinction in class29. This is furthered by Catherine marrying Edgar because "it would degrade her to marry
[Heathcliff]."
Readers are confronted over how wealth affects one’s own love.
Images K and L
There is a stark contrast between
the buildings which inspired
Wuthering Heights (left) and
Thrushcross Grange (right).
2.7
Catherine’s Internal Conflict
2.7.1
Overview
Catherine is divided between marrying Heathcliff for love or Edgar for ease of life. She immediately second-guesses
her decision, and after marrying Edgar struggles to come to terms with her choice.
2.7.1.1 Evolution of Conflict
Catherine’s emotional instability is founded with her decision to marry Edgar, and aggravated with the return of
Heathcliff.
2.7.1.2 Role of Narrative Structure
As the narrative voice, Nelly characterises Catherine’s worsening state. These conflicts are especially severe since
although “never subject to depression of spirits”, now “Catherine had seasons of gloom and silence”.
28
The Romantic Movement was an artistic movement from 1800 to 1850 in Europe and England inspired by the French
Revolution. One of the key ideals of this period was the portrayal of childhood as innocent and linked to nature.
29
This is in line with a Marxist reading strategy, which sees the portrayal of class in texts as a product of its time for it does not
meet our modern views of equality. A Marxist reader is indeed critical of such portrayal.
2.7.2
Image M
Catherine’s trust of Nelly reveals
to the reader her internal conflict
Contribution to Themes
2.7.2.1 Greed
Catherine dreams of dying and going to heaven; “I was only going to
say that heaven did not seem to be my home; and I broke my heart
with weeping to come back to earth; and the angels were so angry
that they flung me out into the middle of the heath on the top of
Wuthering Heights; where I woke sobbing for joy”. In this regression-induced Freudian slip heaven represents the
wealth and prestige obtained by marrying Edgar30 while the earth symbolised the love of Heathcliff. Her
unconsciousness resists a marriage based on greed.
Catherine repeatedly ignores reality31 when Edgar tells her that “is impossible for you to be my friend, and [Heathcliff’s]
at the same time” she denies the situation; “‘I require to be let alone’… ‘I demand it’”.
Telling Nelly that “If I marry Linton. I can aid Heathcliff to rise, and place him out of my brother’s power” Catherine
further falsifies reality by convincing herself she is helping Heathcliff, but rather causes him to leave in disgust. Greed
can only aggravate rather than solve problems.
Catherine turns upon both Edgar and Heathcliff; projecting her own guilt upon the two. On her deathbed she verbally
attacks Heathcliff; “ You and Edgar have broken my heart. . . . You have killed me- and thriven on it”. Heathcliff32 replies
that “nothing that God or Satan could inflict would have parted us,
you, of your own will, did it. I have not broken your heart- you have
broken it”. The biblical allusion serves to emphasise Catherine’s
destructive power of greed.
Bronte cautions by displaying Catherine’s greed-induced inner
turmoil. Turning a loved character into one of despair and
bitterness offers a shocking caution to a society33 valuing wealth
over love. This is poignant to both contexts.
Image N
Catherine’s psychological breakdown
is similar to that experienced by Lady
Macbeth (shown in the oil painting)
30
And therefore being the “greatest woman in the neighbourhood”
Through the defence mechanism of denial
32
Taking upon the role of chorus in Greek tragedy as the voice of the audience
33
Both period and contemporary
31
2.7
Heathcliff’s Internal Conflict
2.7.1
Overview
Heathcliff’s internal conflict mostly stems from the defence mechanism of denial34.
This draws from Heathcliff’s extended character conflict between Edgar, although persists in the psychological sense
to Heathcliff’s own son Linton.
2.7.1.1 Evolution of Conflict
Heathcliff is envious of Edgar, yet his attempts at revenge become tainted by his foe.
Image O
Linton bears more of a resemblance to
Edgar than Heathcliff
Heathcliff is placed into a limbo by his son who resembles
Edgar like a “younger brother”. While he loves Linton, giving
him aid he feels he is helping his foe.
2.7.1.2 Role of Narrative Structure
Nelly, as a trusted narrator, acts to confirm Linton as “A pale, delicate, effeminate boy,
who might have been taken for my master’s [Edgar’s] younger brother, so strong was
the resemblance”.
Linton’s death occurs at the climax of the story, emphasising the importance of the event to the wider narrative. In
terms of internal conflict however, the bulk of this is more subtly revealed; showing how this internalised emotion is
hidden from view.
2.7.2
Contribution to Themes
2.7.2.1 Revenge
Heathcliff’s revenge upon Edgar is tainted35. Isabella’s eyes “detestably resemble [Edgar] Linton's” and their only child
completes this conflict. Linton is a pale, sickly child, much unlike his father; his name and appearance both resemble
Edgar’s.
Heathcliff is unable to hate Linton, even when ill having “arranged everything with a view to preserve the superior and
the gentleman in him”. Contradictorily as Linton’s illness grows worse Heathcliff persists that “his life is not worth a
farthing, and I won't spend a farthing on him.”.
Heathcliff loves his son yet hates the past he reflects. He cannot ill-treat his son and deny his love, yet by helping Linton
to survive he feels as if he is aiding Edgar.
Both period and contemporary readers highly value the love between parent and child. By confusing this bond through
internal conflict, Bronte demonstrates the destructive nature of revenge.
34
35
According to Sigmund Freud, denial is “the simple refusal to face certain facts”
Heathcliff takes revenge upon Edgar by marrying his sister.
3.0
Conclusions
3.1
Summary
Emily Bronte invokes conflicts and uses narrative structure to construct themes within Wuthering Heights. Through
these themes social and political commentary can be made within the forum of a novel.
3.2
Authorial Comment
st
As a 21 Century reader these conflicts give a deeper appreciation of key social divides brought about through a
disparity in power between two parties from which all conflict ultimately draws from. I am also aware that this disparity
can never be truly removed, meaning that such criticisms are highly important so as to provide cautions for both
parties over how these issues should be approached.
4.0
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