How does Bronte use natural setting and imagery in ‘Wuthering Heights’?

Natural setting and imagery is instrumental in Bronte’s creation of ‘Wuthering Heights’. They are central in reflecting characters, attitudes and events while giving us invaluable insight into social class. In a highly complex plot of double chronologies, natural setting and imagery links past and present while directly advancing the plot. Moreover, they can create and intensify the mood and atmosphere of an incident while adding depth throughout the novel with symbolism. The vivid natural backdrop and rich language description greatly enhances the enchanting plot.

The most prominent characters that can be linked with natural setting and imagery are Heathcliff and Catherine Earnshaw. Heathcliff’s name, a combination of two aspects of basic nature, is an immediate indication of his close link with the natural surroundings. His character can be seen to directly conform to the stormy moors that become his refuge and solitude from the tyranny of Wuthering Heights. Both then, are unpredictable, wild, dangerous and threatening. Much description of Heathcliff draws on symbolism from the natural setting of the novel. For example, the image of Heathcliff being like ‘whinstone’ is repeated. This natural aspect reflects Heathcliff’s toughened and unemotional character. He is also described as ‘an arid wilderness of furze.’ This perhaps is drawn more directly form the surrounding moors and echoes his seemingly wild and barren temperament. This image of infertility is reinforced later in the novel.

Heathcliff’s affinity with nature is also shared by his soul mate, Catherine. She is part of this natural bond with nature and also seeks her retreat on the moors. This reveals her unusual character, whilst human disposition would instinctively seek shelter and protection away from the elements, both children are most comfortable with the rawness of the moors. This ease with nature is seen in the way in which the children are found to run across the ground with bare feet. Symbolic description of Catherine is also drawn from nature. In writing about Catherine’s stay with the civilised and sheltered Lintons, Bronte writes ‘It was not the thorn bending to the honeysuckle but the honeysuckle embracing the thorn.' From this image the reader can infer that Catherine is prickly, wild, untamed and yet beautiful, attractive and perhaps manipulative as the Lintons are quick to accept and pander her.

Natural setting and imagery are also used to contrast the characters of ‘Wuthering Heights’. Catherine uses much imagery drawn from nature to explain her incompatibility with Edgar Linton. She compares their differences as ‘moonbeam from lightning, or frost from fire.’ Such symbolic natural imagery vividly portrays the way in which Edgar is pale, weak and transparent like moonlight, and cold, stiff and perhaps chills her soul like frost. In extreme contrast to this, Catherine is wild, dangerous and passionate. Similarly to lighting and fire, she is beautiful but also destructive. The powerful juxtaposition of the descriptions can only be found in the strength of the natural setting of ‘Wuthering Heights.’

In a similar incident, Cathy Linton and Linton Heathcliff describe their ideal heaven, inadvertently revealing much about their individual characters. Cathy describes ‘rocking…in a green tree…west wind blowing…bright, white clouds flitting rapidly above.’ This suggests her active, lively and vivid character in contrast to Linton who talks of ‘bloom…and the blue sky and bright sun shining steadily and cloudlessly.’ Once again nature highlights differences just as it did in the older generation. However, both children set their heavens amongst the moors, reminding the reader that an aspect of their parents’ affinity with nature has been inbred.

Nature is used to ...

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Nature is used to contrast Heathcliff and Edgar Linton. Bronte writes about the differences as ‘a bleak hilly coal country for a beautiful fertile valley.’ This describes their differing physical attractiveness and also characters. Heathcliff has been violated by the tyranny of Hindley in the same way that mining violates nature while Edgar is attractive and cosseted. It may also reflect literal fecundity, Edgar’s family line is passed on through Cathy whilst Heathcliff’s dies with Linton. This single description drawn from the natural setting of the novel also reveals ideas about social class. Heathcliff’s prospects as a lesser and degraded citizen are also bleak and barren whilst Edgar faces prosperity and fruitfulness as a member of the upper classes.

Interestingly, much of the natural imagery used seems to suggest that social class is only surface deep. Beyond appearances and wealth human nature is at its most basic level, the same. In ‘Wuthering Heights’ all the characters are revealed to have primitive and raw instincts regardless of class, that are depicted by natural imagery. Catherine and Heathcliff are openly so whilst Edgar and Isabella’s basic instincts are veiled by a civilised and privileged upbringing.

However, the strength of the bond of Catherine and Heathcliff with nature evokes similar behaviour from Isabella and Edgar. After spending time married to Heathcliff, Isabella is affected by his affinity with nature. She is described as a ‘vixen’ and runs through a storm across the moors to the safety of the Grange. This is the same journey made early in the novel by Catherine, as she first encounters the Grange. In the same way, Edgar is described as a ‘bull’ after being in the frequent company of Catherine and Heathcliff.

Natural setting and imagery is also used to depict and reveal attitudes in the novel. Catherine Earnshaw is the most prominent example of this. Her attitude to love and also both men concerned is reflected in natural imagery.

‘[Edgar]Linton is like the foliage in the woods…my love for Heathcliff resembles the eternal rocks beneath.’

Firstly, the reader can learn of her attitude toward Edgar. She sees him as a passing fancy and does not regard him with love just as leaves are seasonal. It would also suggest that Catherine’s love for Edgar is weak and can be as easily broken, as leaves are quickly blown from a tree by wind. This further reveals her attitude as superficial and materialistic, eventually choosing Edgar for his looks and money. Her love for Heathcliff however is true, deep and as steadfast at nature itself. This implies that the empathy of Catherine and Heathcliff with nature extends to an affinity of their souls. Despite this, Catherine marries Edgar.

From this the reader can surmise that Catherine has a poor attitude to love; she does not value it highly enough.

Natural setting is used highly effectively in marking significant events in the progress of the novel. Again, the affinity of Heathcliff with nature makes events surrounding him most susceptible to a change in the natural setting. His arrival and departure then, are clearly marked with similar weather. Mr. Earnshaw returns in the dark of night, breeding immediate ominous feelings. Heathcliff also dies in the dead of night, suggesting that the plot has come full circle. The weather at his death however, is ferocious, with ‘driving’ rain, ‘indeed, it poured down.’ In this way nature is reflecting the reuniting of Catherine and Heathcliff’s passionate and wild souls. Death is also marked with miserable weather, such as was the case when Edgar Linton died. Nelly, the narrator, describes the weather shortly prior to Edgar’s death as ‘close and sultry…devoid of sunshine.’

Storms often marked important events, and the most memorable storm occurs when Heathcliff leaves Catherine behind at Wuthering Heights.

‘The storm came rattling over the Heights in full fury. There was a violent wind, as well as thunder.’

Such violent weather can be seen to reflect the momentous and painful split of Catherine and Heathcliff’s intertwined souls. This is further enhanced by the symbolism of another natural image of a splitting tree. This pathetic fallacy reminds us of nature power to reflect feelings.

Natural setting is used to mark Heathcliff’s reign at Wuthering Heights. Lockwood arrives at the peak of this and describes ‘misty…cold…black frost.’ This would indicate the cold, cruel, evil and malevolent presence of Heathcliff at Wuthering Heights. In stark contrast to this, Lockwood is also able to describe is natural surroundings at the end of the novel, once Heathcliff has dies and Cathy Linton and Hareton have firmly established a new lifestyle for themselves. Interestingly, Lockwood describes the moors, which have so often been the source of harsh and bitter weather. Instead, the setting has greatly changed. ‘Under that benign sky…among the heath and the harebells…soft wind breathing through the grass.’ We can see that the tyranny and wretched lifestyle lived under Heathcliff has been abolished for Hareton and Cathy. Their love and hope for the future is reflected in the natural setting.

Natural setting links the past and the present of the novel. The moors are the focal point of this and represent continuity across the generations. The moors were very much a part of Catherine and Heathcliff, and a diluted form of this connection can be found in young Cathy. She is drawn instinctively to the Pennistone Crags on the moors. By venturing across the moors, she encounters Wuthering Heights, unaware of the effects that predated affairs will have on this new stage of her life. More specifically, natural images can be found to span both generations. For instance, Lockwood describes in chapter 1, the ‘straggling gooseberry bushes’ of the Heights. By the end of there novel, we have seen Cathy and Hareton uproot these to plant wallflowers. This natural image reinforces the theme of changing the old, oppressive atmosphere with one of life and vitality.

Despite the vast width of the moors separating the two houses, nature cannot prevent the entanglement of human affairs that beleaguer three generations. Bronte may be suggesting then, that nature is the slave of human feeling instead of being the effective force.

Natural setting also acts as a marker of time. Again this is important to the success of the frequent jumps and changes in time. A natural change in season can be marked through scrupulous description of the setting throughout the novel. A poignant example of natural setting marking time change can be found in Lockwood’s final description of the graves of Catherine, Heathcliff and Edgar.

‘The three headstones on the slope next to the moor – the middle one, grey, and half buried in heath – Edgar Lintons only harmonised by the turf and moss, creeping up its foot – Heathcliff’s still bare.’

This vividly portrays not only the passage of time that has passed between each death but also the way in which nature appears to be reclaiming the bodies. Perhaps Bronte is suggesting that while the strength of Heathcliff and Catherine dictated nature during their life, ultimately it is nature that holds the power in death.

In the same way that Natural setting provides continuity in unfolding events, it also allows for advance in the plot. For example, Catherine Earnshaw catches an illness while searching for Heathcliff in the storm marking their separation. The elder Lintons contract her virus and die, leaving the way open for Edgar to propose and impulsive and frivolous marriage. Another example of natural setting effecting events can be found when Nelly also falls ill after crossing the moors, providing Cathy Linton with the means of visiting Linton and establishing an equally frivolous relationship.

Perhaps the most important aspect of natural setting and imagery is the way in which it sets the mood and atmosphere, adding depth and emotion to the novel. Heathcliff for example, is associated with the most ferocious weather so that his presence becomes ominous, threatening and foreboding. Another strong example is the mood and atmosphere that prevails at Wuthering Heights. It is sinister and gothic due to the bleakness that surrounds it and also stormy, wild and turbulent due to the continuing battering of the wildest winds and rain. The solitary trees are described as ‘stretching their limbs one way, as if craving the alms of the sun.’ This natural image furthers the atmosphere of darkness and isolation that surrounds the Heights. However, in complete contrast to this is the atmosphere at the end of the novel. The ‘benign’ moors and ‘blue sky’ suggest peace and tranquillity have replaced the harsh regime of Heathcliff. This would support the idea that it is human nature that effects nature in life, for Wuthering Heights is transformed entirely by the presence of Hareton and Cathy. Yet once again the unregenerate strength of past turmoil threatens the surface serenity as a feeling of unease surrounds the mention of the three graves. As Bronte suggests, Catherine and Heathcliff are united in death and their affinity with nature remains so strong that it can effect the living world. For instance, the storm that broke out at the reuniting of Catherine and Heathcliff’s souls.

Finally then, Bronte uses meticulous detail in describing the natural setting of ‘Wuthering Heights’ in order to counter balance the more unbelievable events of the novel. Natural imagery and setting provides a foundation of realism so that the extremity of the plot is not continually questioned. Whilst the natural setting of the moors and descriptions of nature hold the novel together and provide continuity, they are neither separate from the happenings or characters. It is debatable however, whether Bronte uses nature to reflect the intrinsic strength of character emotions or whether the rawness of nature causes the passions of its inhabitants. Either way, the natural imagery and setting of ‘Wuthering Heights’ enriches the language by creating a harrowing and haunting backdrop and adding depth and soul to the novel.