qwertyuiopasdfghjklzxcvbnmqwertyui opasdfghjklzxcvbnmqwertyuiopasdfgh jklzxcvbnmqwertyuiopasdfghjklzxcvb nmqwertyuiopasdfghjklzxcvbnmqwer WUTHERING HEIGHTS tyuiopasdfghjklzxcvbnmqwertyuiopas BOOK REVIEW dfghjklzxcvbnmqwertyuiopasdfghjklzx cvbnmqwertyuiopasdfghjklzxcvbnmq wertyuiopasdfghjklzxcvbnmqwertyuio pasdfghjklzxcvbnmqwertyuiopasdfghj klzxcvbnmqwertyuiopasdfghjklzxcvbn mqwertyuiopasdfghjklzxcvbnmqwerty

uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc vbnmqwertyuiopasdfghjklzxcvbnmrty uiopasdfghjklzxcvbnmqwertyuiopasdf ghjklzxcvbnmqwertyuiopasdfghjklzxc

SUBIKSHA RAVI

This story is narrated by Lockwood, a gentleman visiting the Yorkshire moors where the novel is set, and of Mrs Dean, housekeeper to the Earnshaw family, who had been witness of the interlocked destinies of the original owners of the Heights. In a series of flashbacks and time shifts, Bront draws a powerful picture of the enigmatic Heathcliff, who is brought to Heights from the streets of Liverpool by Mr Earnshaw. Heathcliff is treated as Earnshaw's own children, Catherine and Hindley. After his death Heathcliff is bullied by Hindley, who loves Catherine, but she marries Edgar Linton. Heathcliff 's destructive force is unleashed, and his first victim is Catherine, who dies giving birth to a girl, another Catherine. Isabella Linton, Edgar's sister, whom he had married, flees to the south. Their son Linton and Catherine are married, but always sickly Linton dies. Hareton, Hindley's son, and the young widow became close. Increasingly isolated and alienated from daily life, Heathcliff experiences visions, and he longs for the death that will reunite him with Catherine. ~ Unlike most novels, Wuthering Heights' protagonists are anti-heroes; the very antithesis of what a hero is supposed to be. Instead of compassionate and heroic, Heathcliff and Catherine are selfish and petty. Instead of being blissfully in love, Catherine marries someone else and breaks Heathcliff's heart. Too proud to tell each other their true feelings, they fight, storm and rage against each other, destroying themselves in the process. Most people dislike this novel, for its gloomy perspective, tragic outcome and psychological drama. However, Catherine and Heathcliff are perhaps more realistic than most other novel characters claim to be. They not only make mistakes, they cause debacles, completely devastate both people and places and ruin it all by blaming solely themselves. The novel begins when all four, including the narrator and housekeeper, are children. Catherine and Hindley are true blooded siblings, and Heathcliff is sort of "adopted" into their family. The plot unravels, and with it, the characters, blooming into bitterness and pride simply by being dishonest with each other. The entire drama is a destruction of a human soul; how love can save and damn one man. Bront brings in a whole new perspective on love. It isn't the epic ballad in tales, or the beautiful quiet bloom between spouses; this is rampant, tragic and interbred with other less desirable qualities until it is no longer recognizable until the very end.--Submitted by Leyla Shakew ~ An orphan brought home by a father to Wuthering Heights - a large rustic home on the moors becomes a member of the family with complex emotional relationships with the father and his own children, Catherine and Hinton. The orphan, Heathcliff, finds his life totally changed after the father dies and Catherine makes friends with the refined Linton children of neighboring Thrushwood Grange. Entangled loves, marriages, sicknesses, births and deaths continue the dark story.--Submitted by Aloe ~ One day in the 1770s, widower Mr Earnshaw comes back from town with a new brother for his children: a small, black boy whom he calls Heathcliff. Hindley, the son of the household, is not pleased, but Catherine, his sister, finds a playmate in this harsh boy. However, things will change severely when old Earnshaw dies and Hindley takes over the household with his wife. As Heathcliff is more and more reduced to servitude, Catherine becomes aware that she and Heathcliff will never be able to keep themselves if they marry and she accepts the proposal of an Edgar Linton, the wealthy owner of the nearby Thrushcross Grange. On a stormy night, Heathcliff walks off after hearing Catherine say that it would be a degradation to be married to him. He returns three years later wealthy and longing for revenge. Doing just that, he leaves a trace of disease, dissipation and violence behind him. At the crucial stage, though, everything is compromised and the novel ends with a note of bliss after all the gloom. Wuthering Heights is known for its great setting on the moors that were so

important to its writer and for the extremity of Heathcliff as Byronic Hero. Although the work is bleak in places, it does not depress, certainly not if read to the end. A fantastic, un-Victorian and imaginative work that is embedded in English folk-tradition and literature.--Submitted by kiki1982 ~ Wuthering Heights, Emily Brontes only novel, is a harrowing tale of passion and tragedy with a sunny ending. This gothic book entwines romantic and eerie threads to form the ultimate heart-throbber. The story is told by two characters in the sidelines: Mr. Lockwood, the new tenant of the Grange, and Mrs. Dean, an old servant of the Earnshaw family. It recounts the saga of two star-crossed lovers, Heathcliff-a gypsy boy rescued from the streets of London by Mr. Earnshaw-and Catherine Earnshaw, Mr. Earnshaws daughter. Catherines older brother Hindley cruelly tyrannizes over Heathcliff after Mr. Earnshaws death, treating him worse than a servant. When Catherine becomes a woman and the suitors start calling, Heathcliff, destitute and illiterate due to Hindleys cruelty, is no match for the rich and handsome Edgar Linton, owner of Thrushcross Grange. Heathcliff mysteriously disappears after overhearing Catherines low opinion of him, only to reappear two years later and disturb the married life of his love Catherine, who by now has become Mrs. Linton. The uncanny gypsy then spends the remainder of his unhappy life wreaking vengeance upon the multiple recipients who had hurt him in the past, including Catherine who killed them both by marrying for money. Wuthering Heights is the recounting of this tragic love story, and of happiness redeemed through the next generation.-Submitted by Constance de Montmorency

Heathcliff: Found, and presumably orphaned, on the streets of Liverpool, he is taken to Wuthering Heights by Mr. Earnshaw and reluctantly cared for by the rest of the family. He and Catherine later grow close, and their love becomes the central theme of the first volume; his revenge and its consequences are the main theme of the second volume. Heathcliff is typically considered a Byronic hero, but critics have found his character, with a capacity for selfinvention, to be profoundly difficult to assess. His position in society, without status (Heathcliff serves as both his given name and surname), is often the subject of Marxist criticism[citation needed]. Catherine Earnshaw: First introduced in Lockwood's discovery of her diary and etchings, Catherine's life is almost entirely detailed in the first volume. She seemingly suffers from a crisis of identity, unable to choose between nature and culture (and, by extension, Heathcliff and Edgar). Her decision to marry Edgar Linton over Heathcliff has been seen as a surrender to culture, and has implications for all the characters of Wuthering Heights. The character of Catherine has been analysed by many forms of literary criticism, including: psychoanalytic and feminist. Edgar Linton: Introduced as a child of the Linton family, who reside at Thrushcross Grange, Edgar's life and mannerisms are immediately contrasted with those of Heathcliff and Catherine, and indeed the former dislikes him. Yet, owing much to his status, Catherine marries him and not Heathcliff. This decision, and the differences between Edgar and Heathcliff, have been read into by feminist criticisms. Nelly Dean: The second and primary narrator of the novel, Nelly has been a servant of each generation of both the Earnshaw and Linton families. She is presented as a character who straddles the idea of a 'culture versus nature' divide in the novel: she is a local of the area and a servant, and has experienced life at Wuthering Heights. However, she is also an educated woman and has lived at Thrushcross Grange. This idea is represented in her having two names,

Ellenher given name and used to show respect, and Nellyused by her familiars. Whether Nelly is an unbiased narrator and how far her actions, as an apparent bystander, affect the other characters are two points of her character discussed by critics.[4] Isabella Linton: Introduced as part of the Linton family, Isabella is only ever shown in relation to other characters. She views Heathcliff as a romantic hero, despite Catherine's warning her against such a view, and becomes an unwitting participant in his plot for revenge. After being married to Heathcliff and abused at Wuthering Heights, she escapes to London and gives birth to Linton. Such abusive treatment has led many, especially feminist critics, to consider Isabella the true/conventional 'tragic romantic' figure of Wuthering Heights. Hindley Earnshaw: Catherine's brother who marries Frances, an unknown woman to the family, and only reveals this when Mr. Earnshaw dies. He spirals into destructive behaviour after her death and ruins the Earnshaw family with his drinking and gambling. Hareton Earnshaw: The son of Hindley and Frances, initially raised by Nelly but passed over to in effect Joseph and Heathcliff. The former works to instill a sense of pride in Earnshaw heritage, even though Hareton has no right to the property associated with it. The latter strives to teach him all sorts of vulgarities as a way of avenging himself on Hareton's father, Hindley. Hareton speaks with a similar accent to Joseph and works as a servant in Wuthering Heights, unaware of his true rights. His appearance regularly reminds Heathcliff of Catherine. Catherine Linton: The daughter of Catherine Earnshaw and Edgar Linton, she is a spirited girl, though unaware of her parents' history. Edgar is very protective of her and as a result she is constantly looking beyond the confines of the Grange. Linton Heathcliff: The son of Heathcliff and Isabella, he is a very weak child and his character resembles Heathcliff's, though without its only redeeming feature: love. He marries Catherine, but only under the direction of his father, whom he discovers only as he enters his teens. Joseph: A servant at Wuthering Heights who is a devout Christian. He speaks with an almost unintelligible accent, though Bronte has been often commended on her very accurate transcription of it. Lockwood: The narrator of the book, he comes to rent Thrushcross Grange from Heathcliff to escape society but finally decides he prefers company rather than end up as Heathcliff. Frances: A generally amiable character, her marriage to Hindley is unrevealed until Mr Earnshaw dies. Kenneth: A doctor in the nearby village of Gimmerton. Zillah: A servant to Heathcliff at Wuthering Heights in the time after Catherine's death.

Wuthering Heights is a gothic novel, and the only novel by Emily Bront. It was first published in 1847 under the pseudonym Ellis Bell, and a posthumous second edition was edited by her sister Charlotte. The name of the novel comes from the Yorkshire manor on the moors on which the story centres (as an adjective; wuthering is a Yorkshire word referring to turbulent weather). The narrative tells the tale of the all-encompassing and passionate, yet thwarted, love between Heathcliff and Catherine Earnshaw, and how this unresolved passion eventually destroys them and many around them.

Now considered a classic of English literature, Wuthering Heights met with mixed reviews by critics when it first appeared, mainly because of the narrative's stark depiction of mental and physical cruelty.[1][2] Though Charlotte Bront's Jane Eyre was initially considered the best of the Bront sisters' works, many subsequent critics of Wuthering Heights argued that its originality and achievement made it superior.[3] Wuthering Heights has also given rise to many adaptations and inspired works, including films, radio, television dramatisations, a musical by Bernard J. Taylor, ballet, opera, and song.

As an adult Emily recognized a metaphysical power in her life that made itself known in her greatest poems and is a profound presence in Wuthering Heights. Set during late eighteenth century England, Wuthering Heights reflected the social upheaval occurring in England at the time Emily Bronte wrote the novel. The industrialization of England had given rise to a middle class based on wealth instead of land ownership. The arrival of Irish refugees from the potato famine presented the problem of parentless children in need of homes and socialization exemplified in the character of Heathcliff. Ultimately, Emily portrays the problem of being female in the patriarchal culture of the early nineteenth century.

Catherine Earnshaw - A beautiful, passionate, destructive heroine Heathcliff - A passionate, vengeful hero with mysterious origins Mr. Lockwood - A young London gentleman who narrates the story of Wuthering Heights Edgar Linton - Catherine Earnshaw's gentle, loving husband Isabella Linton - Edgar Linton's selfish, tempestuous younger sister Hindley Earnshaw - Catherine Earnshaw's older brother Catherine Linton - Only child of Catherine Earnshaw and Edgar Linton Hareton Earnshaw - Son of Hindley Earnshaw Linton Heathcliff - Sickly son of Heathcliff and Isabella Linton

Alexander, Christine, and Margaret Smith. The Oxford Companion to the Bronts. Oxford: Oxford Press, 2003. REF PR 4167.A3O94
A novel's strategy reveals itself in structure and process, not in isolated passages or speeches, however striking. Any complex work that aspires to a statement about something larger than the experiences it depicts must be understood as a proposition on two levels: that of the immediate, or present time (the shared fiction of the "immediate" as it is evidently experienced by both participant and reader, simultaneously), and that of the historical (in which the fiction of the simultaneous experience of participant and reader is dissolved, and the reader emerges, ideally, at least, with a god's-eye view of the novelist's design). The playful braiding of narrators and magisterial creator that is so pronounced a characteristic of Nabokov's novels is perhaps more willfully ingenious than the "Chinese box" narration of Emily Bront (which, one should hasten to say, she chose to employ, as a felicitous convention, and did not invent), but scarcely more effective. As much as any Modernist work, Wuthering Heights demands to be reread: the first three chapters (charting the disingenuous Lockwood's introduction to the surly enigmatic inhabitants of Wuthering Heights, both living and dead) yield the author's intention only upon a second reading. And this has not only to do with the time-honored device of withheld information, but with the reader's literal interpretation of Lockwood's experience: for Lockwood is himself a "reader," albeit a most confused one, in these initial chapters.
When Wuthering Heights was first published, it was rejected. Not in the slang meaning, but in the truest sense of the word: Publishers didnt understand the book, or the author. They didnt understand the complexities and messages in the story or the true strength of character its author possessed.

It is as if Emily Bront could tear up all that we know human beings by, and fill these unrecognizable transparencies with such a gust of life that they transcend reality."