Kate Campbell
AP Literature
Judy Goff
20 February 2018
Wuthering Heights QQN 2
Chapters 12-18
Catherine finally eats, but she is still hysterical about Edgar, and she still believes that she is dying. She speaks of her death, and her childhood on the moors with Heathcliff. Catherine tries to open the window, telling Nelly that she is certain that she can see Wuthering Heights. Edgar finally goes to see Catherine, and is very surprised about the seemingly dangerous condition that she is in, physically. Nelly goes to get a doctor, who is cautiously optimistic about Catherine’s recovery. Later that night, Heathcliff and Isabella elope (!!!) and Edgar says that they are only tied by name, and that he will not disown Isabella, because
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Heathcliff and Hindley have been acting very violently towards each other, and she was frightened for her life. She tells Nelly that Hindley had been trying to stay sober, but after he decided not to go to Catherine’s funeral, he began to drink heavily. In his drunkenness, he locked Heathcliff out of the house, and told Isabella of his plan to kill Heathcliff and acquire his fortune. Isabella warned Heathcliff, and when Hindley attacked, he ended up injuring himself. Heathcliff then broke a window to get into the house, and beat Hindley. When the men began fighting the next day, Isabella came to Thrushcross Grange in hopes of refuge. After her visit to Grange, Isabella flees to London. It is revealed that she was pregnant and gives birth to a son, Linton, while in London. Heathcliff knows the whereabouts of his son and wife, but doesn’t pursue either of them. Isabella dies when Linton is twelve. Six months after Catherine’s funeral, Hindley dies. Nelly is shocked to learn that Hindley died very deep in debt, and that Heathcliff now owns Wuthering Heights, because he gave money to Hindley. Heathcliff tells Nelly that he plans to keep Hareton, more as a servant than as a son, and that he plans to get his own son, Linton back soon.
We really start to see the wheels turning in Heathcliff’s head in this chapter. His revenge against the Earnshaws and
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Up until now, Isabella has been a passive character; she rarely thought for herself and was always under the influence of Edgar or Heathcliff. Her realization of the power she would get from wielding a weapon foreshadows her violent argument with Heathcliff later in the novel. Although Heathcliff wields the knife in that fight, Isabella's choice to leave him is the first instance in which she truly thinks for herself. Isabella's shifting relationship with power reflects the rejection of traditional gender roles––the knife is a very violent object, and Isabella's choice to live alone and raise a son by herself would have been highly unusual in the time period.
The amount of anger and frustration expressed to keep their marriage together is emphasized by the rhetorical device. It also shows that hatred is expressed in a family when one is lost for patience, becoming a problem and resolution. In the metaphor, “He’s not a rough diamond-a pearl-containing oyster of rustic: he’s a fierce, pitiless, wolfish man”(Bronte 101), Heathcliff is described by Nelly Dean to be powerful and potentially hurtful to Isabella. Dean protects Isabella by warning her at the cost of dehumanizing Heathcliff. The metaphor is used to describe and illustrate an image for readers and Isabella.
Heathcliff personifies the role of a savage and a cultured gentleman. Heathcliff’s upbringing was tainted from the begging, he was a parentless gypsy orphan that was adopted by and brought out to the moors. As a child he was very unkempt, but unlike most children he never outgrew this trait. When Catherine returns from Thrushcross Grange, she immediately
“She was much too fond of Heathcliff. The greatest punishment we could invent for her was to keep her separate from him: yet she got chided more than any of on his account” (Bronte, 41). Catherine and Heathcliff’s love is a never ending cycle of torment and abuse. During the 1700’s love was more about ownership than one’s own feelings towards their partner. Emily Bronte’s Wuthering Heights depicts the various ways love can be distorted or wrongfully defined through unreal expectations, revenge, and possession.
Hindley's isolation serves as a major theme throughout the novel, and its effects can be seen in his relationships with other characters. Hindley is isolated from the beginning of the novel, with the death of his mother and the arrival of Heathcliff at Wuthering Heights. Hindley is jealous of his father's attention towards Heathcliff, and as a result, he becomes bitter and resentful. He is unable to form a bond with Heathcliff, and their relationship is fraught with tension and conflict. One of many insults that Hindley has towards Heathcliff includes, “Off, dog!
Elizabeth survives the scarlet fever plague that takes Caroline. She writes to Victor while at school and tells him what is going on with the family. She is the source for information for Victor when he is away at the university. Her letters are important in the
Heathcliff and Catherine reveal some pressing matters with letting things go. Before Catherine passes away, Heathcliff asks Catherine to torment him so that he doesn’t have to be away from her, and Catherine obliges Heathcliff’s request. Catherine and Heathcliff have always wanted to be monogamous, however, something is always preventing this. This time, it's a window, symbolizing death, that lies amidst
Wuthering Heights shows death as manipulative, due to the way that Catherine is able to impact Heathcliff after her death. Catherine is cast into purgatory, raising the question of whether or not she is destined for a life of torment towards Heathcliff. Together, the way that death is personified creates a larger question of how, in society, any sort of peace is found? One of the ways that people seek peace is through the process of mourning of death. Death is commonly mourned, both everyday life and literature, allowing for the cast to express their true feelings toward another character, without them being present.
In Wuthering Heights, a good majority of the characters suffer in many ways. Anorexia, idiocy, and abuse are prevalent throughout this story. It is ultimately these sources that lead to character’s abundant psychological suffering. To name a few, Isabella enters a loveless marriage, the death of Hindley’s wife, and, above all, Heathcliff and Catherine have a constant back and forth of blaming the other for their pain (Baldys). Evan at the end of Catherine’s life, Heathcliff comments, “Misery, and degradation, and death, and nothing that God or Satan could inflict would have parted us, you, of your own will, did it.
Isabella is depressed during most of the book because of her abusive marriage. During the book Wuthering Heights their is an chapter that is a letter written by Isabella and how her time at Wuthering Heights is. “ Is Heathcliff a man? If so, is he mad?
Compare the ways in which the writers of your two chosen texts make use of different voices. You must relate your discussion to relevant contextual factors. Bronte in Wuthering Heights and Hosseini in A Thousand Splendid Suns aim to give a voice to their oppressed female characters in their respective patriarchal societies (the Georgian/Victorian period and ISIS ruled Afghanistan) through utilising narrative voice and perspective. Both authors use interchangeable and unreliable narrators to distort the truth of the women's stories, giving the reader a subconscious bias. Lockwood is the main narrator within 'Wuthering Heights', he is written by Bronte as an ignorant character, constantly making mistakes about peoples character.
Throughout the novels The Awakening by Kate Chopin and Wuthering Heights by Emily Brontë being single or married are conditions that shape the lives of the characters. Both novels involve married couples that are dealing with a variety of problems. In Wuthering Heights, Old Cathy only married her husband, Edgar, for social and financial status. Her life is filled with old emotions and chaos once her true love comes back into her life. Mrs. Pontellier in The Awakening seems tired of being married to her husband and finds Robert more interesting.
Women in her society conventionally married for money and social status. Lizzy, however, had no intention of following those standards. Lizzy wanted to marry someone whom she connected with on an intimate level, someone who loved her. Thus, Lizzy was in utter shock and disbelief when Charlotte Lucas, her close friend, told her that she accepted Mr. Collins’s marriage proposal. Lizzy could not comprehend why Charlotte would want to marry someone whom she did not love, though, “she had always felt that Charlotte’s opinion of matrimony was not exactly like her own” (Austen 89).
Firstly the obsessive love between Catherine and Heathcliff. Catherine claims that her love for Heathcliff “resembles the eternal rocks beneath –a source of little visible delight, but necessary” (73). She tells her housekeeper “Nelly, I am Heathcliff –he’s always, always in my
Throughout the novel, Nelly acts as the voice of reason to many of her mistresses, although sometimes their actions have consequences. For example, Nelly encourages Isabella to renounce her love for Heathcliff. Nelly knows that Edgar would never approve of him as her husband, but Isabella disregards her advice and seals her elopement with Heathcliff anyway. Their marriage provoked the tension that had remained after Catherine 's decision to elope with Edgar rather than Heathcliff. Brontë scholars believe that Nelly is one of the only characters in Wurthering Heights that has the power to "shape the plot" by the fact that she has been a support to a handful of the characters throughout the novel.
Emily Brontë approaches the idea of sickness and death of the characters in her novel Wuthering Heights in a peculiar way. The characters that are ill are usually mentally ill, and their deaths often result from physical ailments derived from mental illness. The drive for revenge and desire for love that reigns among the characters often lands them in stressful situations that cause them to spiral downward into these mental illnesses. Emily Brontë’s emphasis on the motif of sickness and death in Wuthering Height deepens the drama of the plot and constructs more complicated relationships between the characters.