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Wuthering Heights, Bronte, Apuntes de Literatura inglesa

Información sobre el contexto y estructura narrativa.

Tipo: Apuntes

2018/2019

Subido el 04/01/2022

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Unit 4: Wuthering Heights, Emily Brontë
Antía Lorenzo San José, 2019
UNIT 5: WUTHERING HEIGHTS, EMILY BRONTË
1. Emily Brontë (1818-1848)
She was born at Thornton, Yorkshire, a place that is very difficult to access. She only lived
for 30 years, and had two sisters: Anne and Charlotte Brontë, who were also writers. She
wrote in 1846 Poems by Currer, Ellis and Acton Bell, set in Gondal, an imaginary Country.
Then she wrote in 1847 Whutering Heights, under the pseudonym of Ellis Bell: this book
can’t present a solution to a beautiful love story that takes places between two people of
different social class (differs from Emma, which has a solution). She presents some tabus
in her book, such as extra-matrimonial relationships. It was widely criticised for its violent
passions, improper for a woman.
2. Setting and relevance of nature: Haworth Moors
The major events take place in Yorkshire:
Romantic attachment to nature and landscape: this is a romantic novel that has a lot to do with
nature, which reflects the characters’ passions.
Opposition established between nature (moors) and civilization (houses, especially Trushcross Grange): wild
related to Withering Heights and civilization related to Grange: they represent civility,
manners, education… It is represented by the Liston family. Actually, the novel is
about the relation between these two different families: the one that lives in the
Whutering Heights and the one that lives in Trushcross Grange.
Mockery of Romantic attitude of communion with nature and isolation: Lockwood (“a perfect
misanthropist’s heaven): the narrator wants to be isolated from society, in connection with
nature, etc. He wants to be Wordsworth. However, he also wants to have all the
commodities of his life in London (hypocrisy).
Nature unbound: relates to the characters’ passional/restrained behaviour.
3. Wuthering Heights: narrative genre
This book deals with different narrative conventions:
1. Family saga: it has similarities with this genre because the narrator tells us the story of a
family through different generations.
It deals with the life of two very different families, the Linton and the Earnshaw, in a
long period of time:
-Linton: educated, civilization.
-Earnshaw: nature.
The action of the novel cover a period of time of 30 years, more or less, and it has to do
with two family generations. There are always a boy and a girl as sons, in order to
accentuate the opposition. The union between he families is between Catherine and
Edgar.
2. Bildungsrroman or novel of education: it narrates the evolution of different characters.
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Antía Lorenzo San José, 2019

UNIT 5: WUTHERING HEIGHTS, EMILY BRONTË

1. Emily Brontë (1818-1848) She was born at Thornton, Yorkshire, a place that is very difficult to access. She only lived for 30 years, and had two sisters: Anne and Charlotte Brontë, who were also writers. She wrote in 1846 Poems by Currer, Ellis and Acton Bell, set in Gondal, an imaginary Country. Then she wrote in 1847 Whutering Heights , under the pseudonym of Ellis Bell: this book can’t present a solution to a beautiful love story that takes places between two people of different social class (differs from Emma , which has a solution). She presents some tabus in her book, such as extra-matrimonial relationships. It was widely criticised for its violent passions, improper for a woman. 2. Setting and relevance of nature: Haworth Moors The major events take place in Yorkshire:  Romantic attachment to nature and landscape: this is a romantic novel that has a lot to do with nature, which reflects the characters’ passions.  Opposition established between nature (moors) and civilization (houses, especially Trushcross Grange): wild related to Withering Heights and civilization related to Grange: they represent civility, manners, education… It is represented by the Liston family. Actually, the novel is about the relation between these two different families: the one that lives in the Whutering Heights and the one that lives in Trushcross Grange.  Mockery of Romantic attitude of communion with nature and isolation: Lockwood (“a perfect misanthropist’s heaven): the narrator wants to be isolated from society, in connection with nature, etc. He wants to be Wordsworth. However, he also wants to have all the commodities of his life in London (hypocrisy).  Nature unbound: relates to the characters’ passional/restrained behaviour. 3. Wuthering Heights: narrative genre This book deals with different narrative conventions:

  1. Family saga: it has similarities with this genre because the narrator tells us the story of a family through different generations. It deals with the life of two very different families, the Linton and the Earnshaw, in a long period of time:
    • Linton: educated, civilization.
    • Earnshaw: nature. The action of the novel cover a period of time of 30 years, more or less, and it has to do with two family generations. There are always a boy and a girl as sons, in order to accentuate the opposition. The union between he families is between Catherine and Edgar.
  2. Bildungsrroman or novel of education: it narrates the evolution of different characters.

Antía Lorenzo San José, 2019

  1. Gothic fiction: most important. a. Structure ( in media res ): when the action has already began. In this case, the action is nearly to finish when the narrator starts to tell us the story, a story of 30 years before (1770-1803). So, this novel is a recollection of a story that somebody tells to somebody else: the events have already taken place when the narration begins. The narrator arrives in Yorkshire and he is interested in the events, so he wants to know what happened. Then, the servant tells him the story, so we have two narrators: the main narrator and the second narrator, the servant, called Igga. b. Narrative levels: c. Characters/Romantic hero: d. Motifs (ghosts, apparitions, dreams, natural landscape…):
  2. Psychological novel:
  3. Fairy tale: their relations remember us the one between the Beauty and the Beast.
  4. Popular Scottish Ballad: “James Harris” or “The Demon Lover”: 4. Narrative framework  Diary: 1801, Gothic convention of embedded narratives.  Lockwood as first narrator: why is Lockwood in Yorkshire? Two reasons: o Lockwood is in Yorkshire because he wants to be isolated from society: he is a misanthropist, he hates human beings and the rest of the world. However, he contradicts himself because he establishes contact with other people and he wants to know what is going on. He is pretending all the time to be a romantic and a misanthropist. He is a “repipi” and pompous in his way of speaking, and establishes a kind of affinity with Heathcliff, but then considers he might be wrong: “1801. - I have just returned from a visit to my landlord - the solitary neighbour that I shall be troubled with. This is certainly a beautiful country! In all England, I do not believe that I could have fixed on a situation so completely removed from the stir of society. A perfect misanthropist’s heaven: and Mr. Heathcliff and I are such a suitable pair to divide the desolation between us. A capital fellow! He little imagined how my heart warmed towards him when I beheld his black eyes withdraw so suspiciously under their brows, as I rode up, and when his fingers sheltered themselves, with a jealous resolution, still further in his waistcoat, as I announced my name. ’Mr. Heathcliff?’ I said. A nod was the answer. ’Mr. Lockwood, your new tenant, sir. I do myself the honour of calling as soon as possible after my arrival, to express the hope that I have not inconvenienced you by my perseverance in soliciting the occupation of Thrushcross Grange: I heard yesterday you had had some thoughts”. “Mr. Heathcliff may have entirely dissimilar reasons for keeping his hand out of the way when he meets a would-be acquaintance, to those which actuate me”.

Antía Lorenzo San José, 2019 LW defines himself as a misanthropist, but he is a gossip and an instrude, chapter 3: he is asked to pass a night there, at the beginig he is not very willing but finalyy he does it: Catherin’s room, he does not know that yet. He is not polite, he is going to someones room and watching the belongings: he is a gossip and a unpolite man. The inscription that he finds: CATHERING EARNSHAw (story of the first generation); CATHERINE HEATCHLIFF (love of her life: however she never marries him. This is the way she imagines her, married with him, but they arent); CATHERINE LINTON (the surname of her husband: they beliogn to the same social class, same age…: sthe most suitable canddiate: he is someone she doesnt love but he was the best option apart ffrom Heatcliff, she could not marry heatglicc because he is a son of nobody knows who, different socal class, Heatcliff at the end: owner of both places and a compelte gentelman ROLE OF LOCKWOOD’S DREAMS Lockwood as a character: unreliable? Role of dreams: what do they reveal aboyt Lockwwod?: frustration and anxious First dream: he is in front of the congreagation and he is accused of comiting a terrible sin.. Because of thaet readon he is puvlically exposed and he will be excomunicatted and everybody shouts and hits him. Seventy times seven: it means always and it is a biblical reference. What can of sin did he commitedd? We dont know, he doesnt telll, but we can imagine it is a very big sin: it deserves excomunicattion: to be expelled from the body of thhe church because your in has no forgiveness. He may dream of that because he is afraid to show his feelings towards other womens: this is the motif why he has never had a girlffiend, as his mother predicted “you wil never have a house of your own”. Homosexualy??? It was a very bad sin in the 18th^ centiry. Second dream: complete different: in the fist one LW was very clear telling us it was a dream, but in this second one we dnt really know if it was a dream or if it relly happened: AMBIGUITITY that goes to the end of the novel. “When awake”: probably dereaming. She was dreaming with Cathering: it is cathering linton. “Im come home”: she is coming home again now because she is a ghost and can do it. She deadd giving birth. Answer of LW: “let me go..”: dejame en paz. Is this a metaphore?? She is kind of life because LW tell us about her. Second possibility: LOCJWOOOD’S AND THE READER’S EXPECRATIONS are frustrated by nineteenth-century litearry convenvtions which Nronte masters ins her novel:

  1. Time shifts

Antía Lorenzo San José, 2019

  1. Multiplication of nrrators
  2. Double Plot Author’s Effacemeent (1st^ person narrtor) E SECOND NARRATIVE LEVEL: NELLEY DEAN Lockwood pieces ifnormation together in a coherent pattern (diary). For which he needs help (Nelly Dan) kthey are veyrs imilar in their arrogant and in his egocentrism They both are gossips NELLY AND LOCKWOOD AS NARRATORS: similar “rational and civilised”. Is this contradicted by their actions?
  • Catherine’s death
  • Linton’s death Both of them take part in the mjor events of the novel: Nelly trigers the course of events STRUCTURE OF THE NOVEL: TIME Temporal discontinuity: in media res Chapter 1-3: 1801:Lockwood arrives at WH Chapters 4 to 30) also 16, part II in some editions: nellt initiates the anrrative (flashback of over 20 years): brea in the narrative. Lockwood is tired of his reitrement and reutrns to london for six months Chapter 32: SYMMETRY IN WUTHERING HEIGHTS Symmetrical desing which applies to idferent levels of the narrative The houses: Tursh ross Grange verus Wuthering Heights: Cvilization veruss wildnerness. Heaven vs hell Characters: first generation. Cathering and hindley vs edgar and isabella SECOND GENERATION simimlarities are reversed:
  • Hareton: harreton, now a gret strong lad of eighen 228: Hindley’s child. Has psycial similarities with Hifcliff.
  • Vs lincon: “i took a peep in to see after lintn… had. He is not like his father,Higcliff: afemininado y casi enfero, muy difernet ea su apdre, varonil, sensual, fuerte. Se parece al marido de la que querias que fuese tu mujer: resembles like linton. TWO PARTS: the second aprt mirros the first section: revisionn and recasting of issues and motifs introduced in PARt I Catherinne Linton and Hareton Earnshaw: invversion of first generatinn Initial harmony: introduciton of ae