Bronte makes use of interpolated narratives giving the reader different view points to consider. This technique keeps the reader’s attention as it changes the tempo and tone of the narrative. The discovery of Catherine Earnshaw’s diary in chapter two is an example of this and Bronte uses this to full advantage with vivid images relayed of Catherine’s childhood.
The second main narrator is articulately brought in, in Chapter four, Nelly Dean, the housekeeper at the Grange. This narrator adds credibility to Lockwood’s story making it more believable as Nelly was and is an eyewitness to past and current events. This second narrator excites the reader as she is ideally placed to give a deeper insight into events that have transpired as she was there. Nelly Dean is used by Bronte to help develop the characters in the novel, with the use of flashbacks. The reader is fully engaged with her initially, ‘seemingly’, unbiased and first hand accounts.
Bronte’s use of multiple narrators adds credibility to the novel giving dimension and depth to the narrative. This creates spontaneous thought processes within the reader, deciphering all the information given. The reader is lead to reach their own conclusions about the events that transpire; Bronte does not try to influence their decision.
Bronte introduces a colourful array of characters in the early chapters that maintain the reader’s attentions. Heathcliff, the main protagonist, is introduced almost immediately in chapter one. His dialogue with Lockwood serves to portray his manner and so enlightens the reader as to his personality traits. “I should not allow anyone to inconvenience me, if I could hinder it – walk in!” (Wuthering Heights, ch1, p1). The arrogance and control he exudes is clear, the reader is intrigued and maintained. Lockwood also introduces the reader to the minor characters Zillah and Joseph in chapter one, who work for Heathcliff. The latter, Lockwood describes as ‘vinegar faced’ (Wuthering Heights, ch2, p9) and the strong Yorkshire dialect this character is given adds interest and reminds the reader of the setting. Joseph’s diction is difficult to understand this distances him from the reader, as he is not a main focal point for the novel.
Heathcliff’s character and his interaction with other characters of his abode reveal hostile tendencies throughout chapter two. The reader’s curiosity is ignited, wanting to know why this is so, and compelled to read on. Young Catherine whom is “slender, and apparently scarcely past girlhood: an admirable form, and the most exquisite little face” with “very fair, flaxen ringlets” (Wuthering Heights, ch2, p11) appears so delicate yet her hostile and unfriendly tone of phrase do not compliment her appearance. The Atmosphere found within Mr. Heathcliff’s household intrigues the reader. Hareton Earnshaw is also portrayed as an unfriendly character as he looked at Lockwood ‘as if there were some mortal feud unavenged between’ (Wuthering Heights, ch2, p11) them. His dress and speech are described as ‘rude’. “His thick, brown curls were rough and uncultivated, his whiskers encroached bearishly over his cheeks, and his hands were embrowned like those of a common labourer: still his bearing was free, almost haughty, and he showed none of a domestic’s assiduity in attending on the lady of the house” (Wuthering Heights ch2, p12). Hareton’s position in the household is unclear at this stage; his presence confuses Lockwood and the reader. Many questions arise as the novel develops holding the interest of the reader.
The introduction of the female protagonist adds incredible drama to the novel and moves the story to another level. The reader is unquestionably gripped at this stage of the novel with the ghostly apparition of young Catherine Earnshaw banging on the window and sobbing, “Let me in – let me in!” (Wuthering Heights, ch3, p25) This climax induces the reader to continue with the reading, as they are fully engrossed in the drama.
Bronte’s use of conflict drives the narrative forward. From the beginning to the end of the novel, a conflict is present. Immediately conflict between the characters can be observed, between characters and the environment, the dogs and Lockwood and the living and the dead. All these conflicts, while driving the story forward, fascinate the reader, leaving them with a curiosity that needs to be met. Wanting to know how these conflicts are resolved
The setting of Wuthering Heights is of major significance to the overall mood of the novel. Bronte uses a Gothic setting to encapsulate the spirit of the book with detail given to the appearance of Wuthering Heights, inside and out creating an atmosphere that the reader can almost feel, inspiring them to read on. The menacing description Wuthering Heights is given, with it ‘large jutting stones’ and carvings over the entrance, of ‘crumbling griffins’ appears ominous, adding a sense of un-ease to the atmosphere. (Landscape and place in Wuthering Heights).
Wuthering Heights is stationed alone on a hilltop, “‘Wuthering’ being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather” (Wuthering Heights, ch1, p4). The reader becomes aware of the implications of the use of the words ‘stormy weather’ as the story unfolds. The reader is captivated with details of Heathcliff’s home, enabling the reader to visualize the scene, further holding their interest. The descriptive words used to describe the ‘battering’ the abode must tolerate from the ‘power of the north wind’ (Wuthering Heights, ch1, p4) ironically reflects the endless ‘battering’ the ‘hearts’ of the residents of that adobe endure throughout the novel. The “range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun” (Wuthering Heights) symbolize the dangers of the characters within, and their yearning for some comfort that seems out of reach.
Bronte’s use of imagery is a very powerful one, yet the full extent of the imagery cannot be appreciated until deeper in the novel when an intimate understanding of the characters has been established. In the early chapters, barriers can be seen as indicators of a restrictive theme running through the novel, but again these barriers and boundaries cannot be fully understood until more knowledge is gained. The need for this knowledge urges the reader to continue reading, to bring about this level of understanding with great satisfaction.
An exceptional novel!
Bibliography
Primary Source
Bronte E, 1847/1995 Wuthering Heights Penguin Classics
Secondary Sources
Jones C, 1998/ York Notes Advanced Librairie du Liban 2005 Wuthering Heights Publishers
Skelmersdale College Characters and Characterisation Skelmersdale College
Smith L, September 2000 Landscape and place The English Review
In Wuthering Heights
Internet
http:www.lingo.ntnu.no Guide for Wuthering Heights (1847) by Emily Bronte
/englitt/GWH.htm (1818-1848)
February 2006