Heathcliff And Catherine In Dante Gabriel Krishnan's Wuthering Heights

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Heathcliff and Catherine have long been identified as inhuman, as a much quoted comment by Dante Gabriel Rossetti shows: “The action is laid in Hell – only it seems places and people have English names there” (qtd. in Krishnan 4). If one is willing to accept that Catherine's ghost haunts Heathcliff after her death, defining this ghost as a vampiric entity is anything but absurd, as long as one does not equal 'vampire' with Dracula as described in the first chapter. An impartial reading reveals a great number of similarities between the depiction of Catherine and Heathcliff and common vampire tropes.
Wuthering Heights shares a type of anti-hero with the first vampire narrative, an archetype which was later imitated by the most influential vampire
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Catherine undergoes a major transformation when she is invited to stay with the Linton's after her injury, returning as lady. Heathcliff does essentially the same thing when he vanishes for three years after overhearing Catherine say that it would degrade her to marry him (86). Especially the latter has been characterized as a “distinctly vampiric move” (10) by Krishnan. Transformations can be observed in other characters as well, especially under the influence of Heathcliff. Hareton is the only one of them who permanently changes for the better by the end of the…show more content…
In the Romantic ballads introduced in the first chapter 'vampirism' is depicted as a consequence rather than the cause of action. Die Braut von Korinth deals with clash between a new religion and old paganism, while Lenore and Der Vampyr depict religious transgressions and their punishment. In all three cases, vampirism is treated as a symptom of another underlying issue. After the discovery of a character being a vampire, which often marks the resolution of the story, there is no further action to take. Starting with Polidori's novella, vampirism functions as a turning point or even an initial point for a narrative; Aubrey discovers Ruthven's nature after approximately one third of the discourse. The remaining part describes Aubrey's reaction to his discovery and his vain attempt to save his sister. The same tendency can be observed in other vampire narratives such as

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