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(呼啸山庄)Wuthering Heights 英文介绍及赏析

seemed to hold little promise when it was published in 1847, selling very poorly and receiving only a few mixed reviews. Victorian readers found the book shocking and inappropriate in its depiction of passionate, ungoverned love and cruelty (despite the fact that the novel portrays no sex or bloodshed), and the work was virtually ignored. Even Emily Bront?’s sister Charlotte—an author whose works contained similar motifs of Gothic love and desolate landscapes—remained ambivalent toward the unapologetic intensity of her sister’s novel. In a preface to the book, which she wrote shortly after Emily Bront?’s death, Charlotte Bront? stated, ―Whether i t is right or advisable to create beings like Heathcliff, I do not know. I scarcely think it is.‖

Emily Bront? lived an eccentric, closely guarded life. She was born in 1818, two years after Charlotte and a year and a half before her sister Anne, who also became an author. Her father worked as a church rector, and her aunt, who raised the Bront? children after their mother died, was deeply religious. Emily Bront? did not take to her aunt’s Christian fervor; the character of Joseph, a caric ature of an evange lical, may have been inspired by her aunt’s religiosity. The Bront?s lived in Haworth, a Yorkshire village in the midst of th e moors. These wild, desolate expanses—later the setting of Wuthering Heights—made up the Bront?s’ daily environment, and Emily lived among them her entire life. She died in 1848, at the age of thirty.

As witnessed by their extraordinary literary accomplishments, the Bront? children were a highly creative group, writing stories, plays, and poems for their own amusement. Largely left to their own devices, the children created imaginary worlds in which to play. Yet the sisters knew that the outside world would not respond favorably to their creative expression; female authors were often treated less seriously than their male counterparts in the nineteenth century. Thus the Bront? sisters thought it best to publish their adult works under assumed names. Charlotte wrote as Currer Bell, Emily as Ellis Bell, and Anne as Acton Bell. Their real identities remained secret until after Emily and A nne had died, when Charlotte at last revealed the truth of their novels’ authorship.

Today, Wuthering Heights has a secure position in the canon of world literature, and Emily Bront? is revered as one of the finest writers—male or female—of the nineteenth century. Like Charlotte Bront?’s Jane Eyre, Wuthering Heights is based partly on the Gothic tradition of the late eighteenth century, a style of literature that featured supernatural encounters, crumbling ruins, moonless nights, and grotesque imagery, seeking to create effects of mystery and fear. But Wuthering Heights transcends its genre in its sophisticated observation and artistic subtlety. The novel has been studied, analyzed, dissected, and discussed from every imaginable critical perspective, yet it remains unexhausted. And while the novel’s symbolism, themes, structure, and language may all spark fertile exploration, the bulk of its popularity may rest on its unforgettable characters. As a shattering presentation of the doomed love affair between the fiercely passionate Catherine and Heathcliff, it remains one of the most haunting love stories in all of literature.

Plot Overview

I N THE LATE WINTER MONTHS OF 1801, a man named Lockwood rents a manor house called Thrushcross Grange in the isolated moor country of England. Here, he meets his dour landlord, Heathcliff, a wealthy man who lives in the ancient manor of Wuthering Heights, four miles away from the Grange. In this wild, stormy countryside, Lockwood asks his housekeeper, Nelly Dean, to tell him the story of Heathcliff and the strange denizens of Wuthering Heights. Nelly consents, and Lockwood writes down his recollections of her tale in his diary; these written recollections form the main part of Wuthering Heights.

Nelly remembers her childhood. As a young girl, she works as a servant at Wuthering Heights for the owner of the manor, Mr. Earnshaw, and his family. One day, Mr. Earnshaw goes to Liverpool and returns home with an orphan boy whom he will raise with his own children. At first, the Earnshaw children—a boy named Hindley and his younger sister Catherine—detest the dark-skinned Heathcliff. But Catherine quickly comes to love him, and the two soon grow inseparable, spending their days playing on the moors. After his wife’s death, Mr. Earnshaw grows to prefer Heathcliff to his own son, and when Hindley continues his cruelty to Hea thcliff, Mr. Earnshaw sends Hindley away to college, keeping Heathcliff nearby.

Three years later, Mr. Earnshaw dies, and Hindley inherits Wuthering Heights. He returns with a wife, Frances, and immediately seeks revenge on Heathcliff. Once an orphan, later a pampered and favored son, Heathcliff now finds himself treated as a common laborer, forced to work in the fields. Heathcliff continues his close relationship with Catherine, however. One night they wander to Thrushcross Grange, hoping to tease Edgar and Isabella Linton, the cowardly, snobbish children who live there. Catherine is bitten by a dog and is forced to stay at the Grange to recuperate for five weeks, during which time Mrs. Linton works to make her a proper young lady. By the time Catherine returns, she has become infatuated with Edgar, and her relationship with Heathcliff grows more complicated.

When Frances dies after giving birth to a baby boy named Hareton, Hindley descends into the depths of alcoholism, and behaves even more cruelly and abusively toward Heathcliff. Eventually, Catherine’s desire for social advancement prompts her to become eng aged to Edgar Linton, despite her overpowering love for Heathcliff. Heathcliff runs away from Wuthering Heights, staying away for three years, and returning shortly after Catherine and Edgar’s marriage.

When Heathcliff returns, he immediately sets about seeking revenge on all who have wronged him. Having come into a vast and mysterious wealth, he deviously lends money to the drunken Hindley, knowing that Hindley will increase his debts and fall into deeper despondency. When Hindley dies, Heathcliff inherits the manor. He also places himself in line to inherit Thrushcross Grange by marrying Isabella Linton, whom he treats very cruelly. Catherine becomes ill, gives birth to a daughter, and dies. Heathcliff begs her spirit to remain on Earth—she may take whatever form she will, she may haunt him, drive him mad—just as long as she does not leave him alone. Shortly thereafter, Isabella flees to London and gives birth to Heathcliff’s son, named Linton after her famil y. She keeps the boy with her there.

Thirteen years pass, during which Nelly Dean serves as Catherine’s daughter’s nursemaid at Thrushcross Grange. Young Catherine is beautiful and headstrong like her mother, but her temperament is modified by her father’s gentler influence. Young Catherine grows up at the Grange with no knowledge of Wuthering Heights; one day, however, wandering through the moors, she discovers the manor, meets Hareton, and plays together with him. Soon afterwards, Isabella dies, and Linton comes to live with Heathcliff. Heathcliff treats his sickly, whining son even more cruelly than he treated the boy’s mother.

Three years later, Catherine meets Heathcliff on the moors, and makes a visit to Wuthering Heights to meet Linton. She and Linton begin a secret romance conducted entirely through letters. When Nelly destroys Catherine’s collection of letters, the girl begins sneaking out at night to spend time with her frail young lover, who asks her to come back and nurse him back to health. However, it quickly becomes apparent that Linton is pursuing Catherine only because Heathcliff is forcing him to; Heathcliff hopes that if Catherine marries Linton, his legal claim upon Thrushcross Grange—and his revenge upon Edgar Linton—will be complete. One day, as Edgar Linton grows ill and nears death, Heathcliff lures Nelly and Catherine back to Wuthering Heights, and holds them prisoner until Catherine marries Linton. Soon after the marriage, Edgar dies, and his death is quickly followed by the death of the sickly Linton.

Heathcliff now controls both Wuthering Heights and Thrushcross Grange. He forces Catherine to live at Wuthering Heights and act as a common servant, while he rents Thrushcross Grange to Lockwood.

Nelly’s story ends as she reaches the present. Lockwood, appalled, ends his tenancy at Thrushcross Grange and returns to Lond on. However, six months later, he pays a visit to Nelly, and learns of further developments in the story. Although Catherine originally mocked Hareton’s ignorance and illiteracy (in an act of retribution, Heathcliff ended Hareton’s education after Hindley died), Catherine grows to love Hareton as they live together at Wuthering Heights. Heathcliff becomes more and more obsessed with the memory of the elder Catherine, to the extent that he begins speaking to her ghost. Everything he sees reminds him of her. Shortly after a night spent walking on the moors, Heathcliff dies. Hareton and young Catherine inherit Wuthering Heights and Thrushcross Grange, and they plan to be married on the next New Year’s Day. After hearing the end of the story, Lockwood goes to visit the graves of Catherine and Heathcliff.

Chronology

The story of Wuthering Heights is told through flashbacks recorded in diary entries, and events are often presented out of chronological order—Lockwood’s narrative takes place after Nelly’s narrative, for instance, but is interspersed with Nelly’s story in his journal. Nevertheless, the novel contains enough clues to enable an approximate reconstruction of its chronology, which was elaborately designed by Emily Bront?. For instance, Lockwood’s diary entries are recorded in the late months of 1801 and in September 1802; in 1801, Nelly tells Lockwood that she has lived at Thrushcross Grange for eighteen years, since Catherine’s marriage to Edgar, whic h must then have occurred in 1783. We know that Catherine was engaged to Edgar for three years, and that Nelly was twenty-two when they were engaged, so the engagement must have taken place in 1780, and Nelly must have been born in 1758. Since Nelly is a few years older than Catherine, and since Lockwood comments that Heathcliff is about forty years old in 1801, it stands to reason that Heathcliff and Catherine were born around 1761, three years after Nelly. There are several other clues like this in the novel (such as Hareton’s birth, which occurs in June, 1778). The following chronology is based on those clues, and should closely approximate the timing of the novel’s important events. A ―~‖ before a date indicates that it cannot be precisely determined from the evidence in the novel, but only closely estimated.

1500 - The stone above the front door of Wuthering Heights, bearing the name of Hareton Earnshaw, is inscribed, possibly to mark the completion of the house.

Heathcliff (In-Depth Analysis)

1758 - Nelly is born.

Catherine (In-Depth Analysis)

~1761 - Heathcliff and Catherine are born.

Edgar (In-Depth Analysis)

~1767 - Mr. Earnshaw brings Heathcliff to live at Wuthering Heights.

1774 - Mr. Earnshaw sends Hindley away to college.

1777 - Mr. Earnshaw dies; Hindley and Frances take possession of Wuthering Heights; Catherine first visits Thrushcross Grange around Christmastime.

1778 - Hareton is born in June; Frances dies; Hindley begins his slide into alcoholism.

1780 - Catherine becomes engaged to Edgar Linton; Heathcliff leaves Wuthering Heights.

1783 - Catherine and Edgar are married; Heathcliff arrives at Thrushcross Grange in September.

1784 - Heathcliff and Isabella elope in the early part of the year; Catherine becomes ill with brain fever; young Catherine is born late in the year; Catherine dies.

1785 - Early in the year, Isabella flees Wuthering Heights and settles in London; Linton is born.

~1785 - Hindley dies; Heathcliff inherits Wuthering Heights.

~1797 - Young Catherine meets Hareton and visits Wuthering Heights for the first time; Linton comes from London after Isabella dies (in late 1797 or early 1798).

1800 - Young Catherine stages her romance with Linton in the winter.

1801 - Early in the year, young Catherine is imprisoned by Heathcliff and forced to marry Linton; Edgar Linton dies; Linton dies; Heathcliff assumes control of Thrushcross Grange. Late in the year, Lockwood rents the Grange from Heathcliff and begins his tenancy. In a winter storm, Lockwood takes ill and begins conversing with Nelly Dean.

1801–1802 - During the winter, Nelly narrates her story for Lockwood.

1802 - In spring, Lockwood returns to London; Catherine and Hareton fall in love; Heathcliff dies; Lockwood returns in September and hears the end of the story from Nelly.

1803 - On New Year’s Day, young Catherine and Hareton plan to be married.

Character List

Heathcliff - An orphan brought to live at Wuthering Heights by Mr. Earnshaw, Heathcliff falls into an intense, unbreakable love with Mr. Earnshaw’s daughter Catherine. After Mr. Earnshaw dies, his resentful son Hindley abuses Heathcliff and treats him as a s ervant. Because of her desire for social prominence, Cathe rine marries Edgar Linton instead of Heathcliff. Heathcliff’s humiliation and misery prompt him to spend most of the rest of his life seeking revenge on Hindley, his beloved Catherine, and their respective children (Hareton and young Catherine). A powerful, fierce, and often cruel man, Heathcliff acquires a fortune and uses his extraordinary powers of will to acquire both Wuthering Heights and Thrushcross Grange, the estate of Edgar Linton

Catherine - The daughter of Mr. Earnshaw and his wife, Catherine falls powerfully in love with Heathcliff, the orphan Mr. Earnshaw brings home from Liverpool. Catherine loves Heathcliff so intensely that she claims they are the same person. However, her desire for social advancement motivates her to marry Edgar Linton instead. Catherine is free-spirited, beautiful, spoiled, and often arrogant. She is given to fits of temper, and she is torn between her wild passion for Heathcliff and her social ambition. She brings misery to both of the men who love her.

Edgar Linton - Well-bred but rather spoiled as a boy, Edgar Linton grows into a tender, constant, but cowardly man. He is almost the ideal gentleman: Catherine accurately describes him as ―handsome,‖ ―pleasant to be with,‖ ―cheerful,‖ and ―rich.‖ However, this full assortm ent of gentlemanly characteristics, along with his civilized virtues, proves useless in Edgar’s clashes with his foil, Heathc liff, who gains power over his wife, sister, and daughter.

Nelly Dean - Nelly Dean (known formally as Ellen Dean) serves as the chief narrator of Wuthering Heights. A sensible, intelligent, and compassionate woman, she grew up essentially alongside Hindley and Catherine Earnshaw and is deeply involved in the story she tells. She has strong feelings for the characters in her story, and these feelings complicate her narration.

Lockwood - Lockwood’s narration forms a frame around Nelly’s; he serves as an intermediary between Nelly and the reader. A somewhat vain and presumptuous gentleman, he deals very clumsily with the inhabitants of Wuthering Heights. Lockwood comes from a more domesticated region of England, and he finds himself at a loss when he witnesses the strange household’s disregard for the

social conventions that have always structured his world. As a narrator, his vanity and unfamiliarity with the story occasionally lead

him to misunderstand events.

Young Catherine - For clarity’s sake, this SparkNote refers to the daughter of Edgar Linton and the first Catherine as ―young Catherine.‖ The first Catherine begins her life as C atherine Earnshaw and ends it as Catherine Linton; her daughter begins as Catherine Linton and, assuming that she marries Hareton after the end of the story, goes on to become Catherine Earnshaw. The mother and the daughter share not only a name, but also a tendency toward headstrong behavior, impetuousness, and occasional arrogance. However, Edgar’s influence seems to have tempered young Catherine’s character, and she is a gentler and more compassionate creature th an her mother.

Hareton Earnshaw - The son of Hindley and Frances Earnshaw, Hareton is Catherine’s nephew. After Hindley’s death, Heathcliff assumes custody of Hareton, and raises him as an uneducated field worker, just as Hindley had done to Heathcliff himself. Thus Heathcliff uses Hareton to seek revenge on Hindley. Illiterate and quick-tempered, Hareton is easily humiliated, but shows a good heart and a deep desire to improve himself. At the end of the novel, he marries young Catherine.

Linton Heathcliff - Heathcliff’s son by Isabella. Weak, sn iveling, demanding, and constantly ill, Linton is raised in London by his mother and does not meet his father until he is thirteen years old, when he goes to live with him after his mother’s death. H eathcliff despises Linton, treats him contemptuously, and, by forcing him to marry the young Catherine, uses him to cement his control over Thrushcross Grange after Edgar Linton’s death. Linton himself dies not long after this marriage.

Hindley Earnshaw - Catherine’s brother, and Mr. Earnshaw’s son. Hindley res ents it when Heathcliff is brought to live at Wuthering Heights. After his father dies and he inherits the estate, Hindley begins to abuse the young Heathcliff, terminating his education and forcing him to work in the fields. When Hindley’s wife Frances di es shortly after giving birth to their son Hareton, he lapses into alcoholism and dissipation.

Isabella Linton - Edgar Linton’s sister, who falls in love with Heathcliff and marries him. She sees Heathcliff as a romantic figure, like a character in a novel. Ultimately, she ruins her life by falling in love with him. He never returns her feelings and treats her as a mere tool in his quest for revenge on the Linton family.

Mr. Earnshaw - Catherine and Hindley’s father. Mr. Earnshaw adopts Heathcliff and bri ngs him to live at Wuthering Heights. Mr. Earnshaw prefers Heathcliff to Hindley but nevertheless bequeaths Wuthering Heights to Hindley when he dies.

Mrs. Earnshaw - Catherine and Hindley’s mother, who neither likes nor trusts the orphan Heathcliff when he is brought to live at her house. She dies shortly after Heathcliff’s arrival at Wuthering Heights.

Joseph - A long-winded, fanatically religious, elderly servant at Wuthering Heights. Joseph is strange, stubborn, and unkind, and he speaks with a thick Yorkshire accent.

Frances Earnshaw - Hindley’s simpering, silly wife, who treats Heathcliff cruelly. She dies shortly after giving birth to Hareton. Mr. Linton - Edgar and Isabella’s father and the proprietor of Thrushcross Grange when Heathcliff and Cat herine are children. An established member of the gentry, he raises his son and daughter to be well-mannered young people.

Mrs. Linton - Mr. Linton’s somewhat snobbish wife, who does not like Heathcliff to be allowed near her children, Edgar and Isabella. She teaches Catherine to act like a gentle-woman, thereby instilling her with social ambitions.

Zillah - The housekeeper at Wuthering Heights during the latter stages of the narrative.

Mr. Green - Edgar Linton’s lawyer, who arrives too late to hear Edgar’s final instruction to change his will, which would have prevented Heathcliff from obtaining control over Thrushcross Grange.

Analysis of Major Characters

Heathcliff

Wuthering Heights centers around the story of Heathcliff. The first paragraph of the novel provides a vivid physical picture of him, as Lockwood describes how his ―black eyes‖ withdraw suspiciously under his brows at Lockwood’s approach. Nelly’s story begins with his introduction into the Earnshaw family, his vengeful machinations drive the entire plot, and his death ends the book. The desire to understand him and his motivations has kept countless readers engaged in the novel.

Heathcliff, however, defies being understood, and it is difficult for readers to resist seeing what they want or expect to see in him. The novel teases the reader with the possibility that Heathcliff is something other than what he seems—that his cruelty is merely an expression of his frustrated love for Catherine, or that his sinister behaviors serve to conceal the heart of a romantic hero. We expect Heathcliff’s character to contain such a hidden virtue because he resembles a hero in a romance novel. Traditionally, romance novel heroes appear dangerous, brooding, and cold at first, only later to emerge as fiercely devoted and loving. One hundred years before Emily Bront? wrote Wuthering Heights,the notion that ―a reformed rake makes the best husband‖ was already a cliché of romantic literature, and romance novels center around the same cliché to this day.

However, Heathcliff does not reform, and his malevolence proves so great and long-lasting that it cannot be adequately explained even as a desire for revenge against Hindley, Catherine, Edgar, etc. As he himself points out, his abuse of Isabella is purely sadistic, as he amuses himself by seeing how much abuse she can take and still come cringing back for more. Critic Joyce Carol Oates argues that Emily Bront? does the same thing to the reader that Heathcliff does to Isabella, testing to see how many times the reader can be shocked by Heathcliff’s gratuitous violence and still, masoc histically, insist on seeing him as a romantic hero.

It is significant that Heathcliff begins his life as a homeless orphan on the streets of Liverpool. When Bront? composed her book, in the 1840s, the English economy was severely depressed, and the conditions of the factory workers in industrial areas like Liverpool were so appalling that the upper and middle classes feared violent revolt. Thus, many of the more affluent members of society beheld these workers with a mixture of sympathy and fear. In literature, the smoky, threatening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of Eng land’s

―dark Satanic Mills.‖ Heathcliff, of course, is frequently compared to a demon by the other characters in the book.

Considering this historical context, Heathcliff seems to embody the anxieties that the book’s upper- and middle-class audience had about the working classes. The reader may easily sympathize with him when he is powerless, as a child tyrannized by Hindley Earnshaw, but he becomes a villain when he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman. This corresponds with the ambivalence the upper classes felt toward the lower classes—the upper classes had charitable impulses toward lower-class citizens when they were miserable, but feared the prospect of the lower classes trying to escape their miserable circumstances by acquiring political, social, cultural, or economic power.

Catherine

The location of Catherine’s coffin symbolizes the conflict that tears apart her short life. She is not buried in the chapel w ith the Lintons. Nor is her coffin placed among the tombs of the Earnshaws. Instead, as Nel ly describes in Chapter XVI, Catherine is buried ―in a corner of the kirkyard, where the wall is so low that heath and bilberry plants have climbed over it from the moor.‖ Moreover, she i s buried with Edgar on one side and Heathcliff on the other, suggesting her conflicted loyalties. Her actions are driven in part by her social ambitions, which initially are awakened during her first stay at the Lintons’, and which eventually compel her to marry Edgar. However,

she is also motivated by impulses that prompt her to violate social conventions—to love Heathcliff, throw temper tantrums, and run around on the moor.

Isabella Linton—Catherine’s sister-in-law and Heathcliff’s wife, wh o was born in the same year that Catherine was—serves as Catherine’s foil. The two women’s parallel positions allow us to see their differences with greater clarity. Catherine repres ents wild nature, in both her high, lively spirits and her occasional cruelty, whereas Isabella represents culture and civilization, both in her refinement and in her weakness.

Edgar

Just as Isabella Linton serves as Catherine’s foil, Edgar Linton serves as Heathcliff’s. Edgar is born and raised a gentleman. He is graceful, well-mannered, and instilled with civilized virtues. These qualities cause Catherine to choose Edgar over Heathcliff and thus to initiate the contention between the men. Nevertheless, Edgar’s gentlemanly qualities ultimately prove useless in his ensuing rivalry

with Heathcliff. Edgar is particularly humiliated by his confrontation with Heathcliff in Chapter XI, in which he openly shows his fear of fighting Heathcliff. Catherine, having witnessed the scene, taunts him, saying, ―Heathcliff would as soon lift a finger at yo u as the king would march his army against a colony of mice.‖ As the reader can see from the earliest descrip tions of Edgar as a spoiled child, his refinement is tied to his helplessness and impotence.

Charlotte Bront?, in her preface to the 1850 edition of Wuthering Heights, refers to Edgar as ―an example of constancy and tenderness,‖ and goes on to suggest that her sister Emily was using Edgar to point out that such characteristics constitute true virtues in all human beings, and not just in women, as society tended to believe. However, Charlotte’s reading seems influenced by her own feminis t agenda. Edgar’s inability to counter Heathcliff’s vengeance, and his na?ve belief on his deathbed in his daughter’s safety and happiness, make him a weak, if sympathetic, character

Themes, Motifs & Symbols

Themes

Themes are the fundamental and often universal ideas explored in a literary work.

The Destructiveness of a Love that Never Changes

Catherine and Heathcliff’s passion for one another seems to be the center of Wuthering Heights, given that it is stronger and more lasting than any other emotion displayed in the novel, a nd that it is the source of most of the major conflicts that structure the novel’s plot. As she tells Catherine and Heathcliff’s story, Nelly criticizes both of them harshly, condemning their passion as immor al, but this passion is obviously one of the most compelling and memorable aspects of the book. It is not easy to decide whether Bront? intends the reader to condemn these lovers as blameworthy or to idealize them as romantic heroes whose love transcends social norms and conventional morality. The book is actually structured around two parallel love stories, the first half of the novel centering on the love between Catherine and Heathcliff, while the less dramatic second half features the developing love between young Catherine and Hareton. In contrast to the first, the latter tale ends happily, restoring peace and order to Wuthering Heights and Thrushcross Grange. The differences between the two love stories contribute to the reader’s understanding of why each ends the way it does.

The most important fea ture of young Catherine and Hareton’s love story is that it involves growth and change. Early in the novel Hareton seems irredeemably brutal, savage, and illiterate, but over time he becomes a loyal friend to young Catherine and learns to read. When young Catherine first meets Hareton he seems completely alien to her world, yet her attitude also evolves from contempt to love. Catherine and Heathcliff’s love, on the other hand, is rooted in their childhood and is marked by the refusal to change. In choosing to marry Edgar, Catherine seeks a more genteel life, but she refuses to adapt to her role as wife, either by sacrificing Heathcliff or embracing Edgar. In Chapter XII she suggests to Nelly that the years since she was twelve years old and her father died have been like a blank to her, and she longs to return to the moors of her childhood. Heathcliff, for his part, possesses a seemingly superhuman ability to maintain the same attitude and to nurse the same grudges over many years.

Moreover, Catherine and Hea thcliff’s love is based on their shared perception that they are identical. Catherine declares, famously, ―I am Heathcliff,‖ while Heathcliff, upon Catherine’s death, wails that he cannot live without his ―soul,‖ meaning Catherine. Their love denies difference, and is strangely asexual. The two do not kiss in dark corners or arrange secret trysts, as adulterers do. Given that Catherine and Heathcliff’s love is based upon their refusal to change over time or embrace difference in others, it is fittin g that the disastrous problems of their generation are overcome not by some climactic reversal, but simply by the inexorable passage of time, and the rise of a new and distinct generation. Ultimately, Wuthering Heights presents a vision of life as a process of change, and celebrates this process over and against the romantic intensity of its principal characters.

The Precariousness of Social Class

As members of the gentry, the Earnshaws and the Lintons occupy a somewhat precarious place within the hierarchy of late eighteenth- and early nineteenth-century British society. At the top of British society was the royalty, followed by the aristocracy, then by the gentry, and then by the lower classes, who made up the vast majority of the population. Although the gentry, or upper middle class, possessed servants and often large estates, they held a nonetheless fragile social position. The social status of aristocrats was a formal and settled matter, because aristocrats had official titles. Members of the gentry, however, held no titles, and their status was thus subject to change.

A man might see himself as a gentleman but find, to his embarrassment, that his neighbors did not share this view. A discussion of whether or not a man was really a gentleman would consider such questions as how much land he owned, how many tenants and servants he had, how he spoke, whether he kept horses and a carriage, and whether his money came from land or ―trade‖—gentlemen scorned banking and commercial activities.

Considerations of class stat us often crucially inform the characters’ motivations in Wuthering Heights. Catherine’s decision to marry Edgar so that she will be ―the greatest woman of the neighborhood‖ is only the most obvious example. The Lintons are relative ly firm in their gentry status but nonetheless take great pains to prove this status through their behaviors. The Earnshaws, on the other hand, rest on much shakier ground socially. They do not have a carriage, they have less land, and their house, as Lockwood remarks with great

p uzzlement, resembles that of a ―homely, northern farmer‖ and not that of a gentleman. The shifting nature of social status is demonstrated most strikingly in Heathcliff’s trajectory from homeless waif to young gentleman-by-adoption to common laborer to gentleman again (although the status-conscious Lockwood remarks that Heathcliff is only a gentleman in ―dress and manners‖).

Motifs

Motifs are recurring structures, contrasts, or literary devices that can help to develop and inform the text’s major themes.

Doubles

Bront? organizes her novel by arranging its elements—characters, places, and themes—into pairs. Catherine and Heathcliff are closely matched in many ways, and see themselves as identical. Catherine’s character is divided into two warring sides: the side that wants Edgar and the side that wants Heathcliff. Catherine and young Catherine are both remarkably similar and strikingly different. The two houses, Wuthering Heights and Thrushcross Grange, represent opposing worlds and values. The novel has not one but two distinctly different narrators, Nelly and Mr. Lockwood. The relation between such paired elements is usually quite complicated, with the

members of each pair being neither exactly alike nor diametrically opposed. For instance, the Lintons and the Earnshaws may at first seem to represent opposing sets of values, but, by the end of the novel, so many intermarriages have taken place that one can no longer distinguish between the two families.

Repetition

Repetition is another tactic Bront? employs in organizing Wuthering Heights. It seems that nothing ever ends in the world of this novel. Instead, time seems to run in cycles, and the horrors of the past repeat themselves in the present. The way that the names of the characters are recycled, so that the names of the characters of the younger generation seem only to be rescramblings of the names of their parents, leads the reader to consider how plot elements also repeat themselves. For instance, Heathcliff’s degradation of Hareton repeats Hindley’s degradation of Heathcliff. Also, the young Catherine’s mockery of Joseph’s earnest evangelical zealousness repeats her mother’s. Even Heathcliff’s second try at opening Catherine’s grave repeats his first.

The Conflict between Nature and Culture

In Wuthering Heights, Bront? constantly plays nature and culture against each other. Nature is represented by the Earnshaw family, and by Catherine and Heathcliff in particular. These characters are governed by their passions, not by reflection or ideals of civility. Correspondingly, the house where they live—Wuthering Heights—comes to symbolize a similar wildness. On the other hand, Thrushcross Grange and the Linton family represent culture, refinement, convention, and cultivation.

When, in Chapter VI, Catherine is b itten by the Lintons’ dog and brought into Thrushcross Grange, the two sides are brought onto the collision course that structures the majority of the novel’s plot. At the time of that first meeting between the Linton and E arnshaw households, chaos has alr eady begun to erupt at Wuthering Heights, where Hindley’s cruelty and injustice reign, whereas all seems to be fine and peaceful at Thrushcross Grange. However, the influence of Wuthering Heights soon proves overpowering, and the inhabitants of Thrushcross Grange are drawn into Catherine, Hindley, and Heathcliff’s drama. Thus the reader almost may interpret Wuthering Heights’s impact on the Linton family as an allegory for the corruption of culture by nature, creating a curious re versal of the more traditional story of the corruption of nature by culture. However, Bront? tells her story in such a way as to prevent our interest and sympathy from straying too far from the wilder characters, and often portrays the more civilized characters as despicably weak and silly. This method of characterization prevents the novel from flattening out into a simple privileging of culture over nature, or vice versa. Thus in the end the reader must acknowledge that the novel is no mere allegory.

Symbols

Symbols are objects, characters, figures, or colors used to represent abstract ideas or concepts.

Moors

The constant emphasis on landscape within the text of Wuthering Heights endows the setting with symbolic importance. This landscape is comprised primarily of moors: wide, wild expanses, high but somewhat soggy, and thus infertile. Moorland cannot be cultivated, and its uniformity makes navigation difficult. It features particularly waterlogged patches in which people could potentially drown. (This possibility is mentioned several times in Wuthering Heights.) Thus, the moors serve very well as symbols of the wild threat posed by nature. As the setting for the beginnings of Catherine and Heathcliff’s bond (the two play on the moors durin g childhood), the moorland transfers its symbolic associations onto the love affair.

Ghosts

Ghosts appear throughout Wuthering Heights, as they do in most other works of Gothic fiction, yet Bront? always presents them in such a way that whether they really exist remains ambiguous. Thus the world of the novel can always be interpreted as a realistic one. Certain ghosts—such as Catherine’s spirit when it appears to Lockwood in Chapter III—may be explained as nightmares. The villagers’ alleged sightings of Heathcliff’s ghost in Chapter XXXIV could be d ismissed as unverified superstition. Whether or not the ghosts are

―real,‖ they symbolize the manifestation of the past within the present, and the way memory stays with people, permeating the ir

day-to-day lives.

Important Quotations Explained

1. But Mr. Heathcliff forms a singular contrast to his abode and style of living. He is a dark-skinned gypsy in aspect, in dress and manners a gentleman, that is, as much a gentleman as many a country squire: rather slovenly, perhaps, yet not looking amiss with his negligence, because he has an erect and handsome figure—and rather morose. Possibly, some people might suspect him of a degree of under-bred pride; I have a sympathetic chord within that tells me it is nothing of the sort: I know, by instinct, his reserve springs from an aversion to showy displays of feeling—to manifestations of mutual kindliness. He’ll love and hate, equally under cover, and esteem it a species of impertinence to be loved or hated again—No, I’m running on too fast—I bestow my own attributes over-liberally on him. Explanation for Quotation #1This passage, from the first chapter and spoken in the voice of Lockwood, constitutes the first of many attempts in the book to explain the mysterious figure of Heathcliff, his character and motivations. Outside of the novel, when critics and readers discuss Wuthering Heights, the same question arises repeatedly. How is Heathcliff best understood? We see here that the question of his social position—is he a gentleman or a gypsy?—causes particular confusion.

The situation of the reader, just beginning to enter into Wuthering Heights as a novel, parallels the situation of Lockwood, just beginning to enter into Wuthering Heights as a house. Like Lockwood, readers of the novel confront all sorts of strange scenes and characters—Heathcliff the strangest of all—and must venture interpretations of them. La ter illuminations of Heathcliff’s personality show this first interpretation to be a laughable failure, indicating little beyond Lockwood’s vanity. Lockwood, in claiming t o recognize in Heathcliff a kindred soul, whom he can understand ―by instinct,‖ makes assumptions that appear absurd once Heathcliff’s history is revealed. Lockwood, while he rather proudly styles himself a great misanthrope and hermit, in fact resembles Heathcliff very little. In the many misjudgments and blunders Lockwood makes in his early visits to Wuthering Heights, we see how easy it is to misinterpret Heathcliff’s complex character, and the similarity between our own position and Lockwood’s becomes a warning to us as readers. We, too, should question our instincts.

2. The ledge, where I placed my candle, had a few mildewed books piled up in one corner; and it was covered with writing scratched on the paint. This writing, however, was nothing but a name repeated in all kinds of characters, large and small—Catherine Earnshaw, here and there varied to Catherine Heathcliff, and then again to Catherine Linton. In vapid listlessness I leant my head against the window, and continued spelling over Catherine Earnshaw—Heathcliff—Linton, till my eyes closed; but they had not rested five minutes when a glare of white letters started from the dark, as vivid as spectres—the air swarmed with Catherines; and rousing myself to dispel the obtrusive name, I discovered my candle wick reclining on one of the antique volumes, and perfum-ing the place with an odour of roasted calf-skin.

Explanation for Quotation #2In this passage from Chapter III, Lockwood relates the first of the troubling dreams he has in Catherine’s old bed. The quotation testifies to Lockwood’s role as a reader within the novel, representing the external reader—the perplexed outsider determined to discover the secrets of Wutheri ng Heights. Upon Lockwood’s first arrival at the house, no one answers his

knocks on the door, and he cries, ―I don’t care—I will get in!‖ The same blend of frustration and determination has marked the responses of many readers and critics when facing the enigmas of Wuthering Heights.

The connection between Lockwood and readers is particularly clear in this passage. Catherine first appears to Lockwood, as she does to readers, as a written word—her name, scratched into the paint. When Lockwood reads over the scraped letters, they seem to take on a ghostly power—the simile Bront? uses is that they are ―as vivid as spectres.‖ Ghosts, of course, constitute a key image throughout the novel. In this instance, it is crucial to note that what comes back, in this first dream, is not a dead person but a name, and that what brings the name back is the act of reading it. We see that Bront?, by using Lockwood as a stand-in for her readers, indicates how she wants her readers to react to her book; she wants her words to come vividly before them, to haunt them.

In this passage, one also can see an active example of Wuthering Heights’s ambiguous genre. The work is often compared to the Gothic novels popular in the late eighteenth century, which dealt in ghosts and gloom, demonic heroes with dark glints in their eyes, and so on. But Bront? wrote her book in the 1840s, when the fashion for the Gothic novel was past and that genre was quickly being replaced as the dominant form by the socially conscious realistic novel, as represented by the work of Dickens and Thackeray. Wuthering Heights often seems to straddle the two genres, containing many Gothic elements but also obeying most of the conventions of Victorian realism. The question of genre comes to a head in the appearances of ghosts in the novel. Readers cannot be sure whether they are meant to understand the ghosts as nightmares, to explain them in terms of the psychology of the characters who claim to see them, or to take them, as in a Gothic novel, as no less substantial than the other characters. Bront? establishes this ambiguity carefully. Th e ―spectres‖ here are introduced within a simile, and in a context that would support their interpretation as a nightmare. Similarly subtle ambiguities lace Lockwood’s account, a few pages later, of his encounter with the ghost of Catherine.

3. It would degrade me to marry Heathcliff now; so he sh all never know how I love him; and that, not because he’s handsome, Nelly, but because he’s more myself than I am. Whatever our souls are made of, his and mine are the same, and [Edgar’s] is as differ ent as a moonbeam from lightning, or frost from fire.

Explanation for Quotation #3Catherine’s speech to Nelly about her acceptance of Edgar’s proposal, in Chapter IX, forms the turning-point of the plot. It is at this point that Heathcliff leaves Wuthering Heights, after he has overheard Catherine say that it would ―degrade‖ her to marry him. Although the action of Wuthering Heights takes place so far from the bustle of society, where most of Bront?’s contemporaries set their scenes, social ambition motivates many of the actions of these characters, however isolated among the moors. Catherine’s decision to marry Edgar Linton out of a desire to be ―the greatest woman of the neighbourhood‖ exemplifies the effect of social considerations on the characters’ actions.

In Catherine’s paradoxical statement that Heathcliff is ―more myself than I am,‖ readers can see how the relation between Cat herine and Heathcliff often transcends a dynamic of desire and becomes one of unity. Heterosexual love is often, in literature, described in terms of complementary opposites—like moonbeam and lightning, or frost and fire—but the love between Catherine and Heathcliff opposes this convention. Catherine says not, ―I love Heathcliff,‖ but, ―I am Heathcliff.‖ In following the relationship through to its painful end, the novel ultimately may attest to the destructiveness of a love that denies difference.

4. ―. . . I got the sexton, who was digging Linton’s grave, to remove the earth off her coffin lid, and I opened it. I thought, once, I would have stayed there, when I saw her face again—it is hers yet—he had hard work to stir me; but he said it would change, if the air blew on it, and so I struck one side of the coffin loose, and covered it up—not Linton’s side, damn him! I wish he’d been soldered in lead—and I bribed the sexton to pull it away, when I’m laid there, and slide mine out too. I’ll have it made so, an d then, by the time Linton gets to us, he’ll not know which is which!‖ ―You were very wicked, Mr. Heathcliff!‖ I exclaimed; ―were you not ashamed to disturb the dead?‖Explanation for Quotation #4When Heathcliff narrates this ghoulish scene to Nelly in Chapter XXIX, the book enters into one of its most Gothic moments. Heathcliff, trying to recapture Catherine herself, constantly comes upon mere reminders of her. However, far from satisfying him, these reminders only lead him to further attempts. Heathcliff’s desire to rejoin Catherine might indeed explain the majority of Heathcliff’s actions, from his acquisition of Thrushcross Grange and Wuthering Heights, to his seizure of power o ver everyone associated with Catherine.

He tries to break through what reminds him of his beloved to his beloved herself by destroying the reminder, the intermediary. Readers can see, in the language he uses here, this difference between the objects that refer to Catherine and Catherine herself. When he opens her coffin, he does not say that he sees her again. Instead, he says, ―I saw her face again,‖ showing that her corpse, like h er daughter or her portrait, is a thing she possessed, a thing that refers to her, but not the woman herself. It seems that, in this extreme scene, he realizes at last that he will never get through to her real presence by acquiring and ruining the people and possessions associated with her. This understanding brings Heathcliff a new tranquility, and from this point on he begins to lose interest in destruction.

5. That, however, which you may suppose the most potent to arrest my imagination, is actually the least, for what is not connected with her to me? and what does not recall her? I cannot look down to this floor, but her features are shaped on the flags! In every cloud, in every tree—filling the air at night, and caught by glimpses in every object by day, I am surrounded with her image! The most ordinary faces of men and women—my own features—mock me with a resemblance. The entire world is a dreadful collection of memoranda that she did exist, and that I have lost her!

Explanation for Quotation #5In this passage from Chapter XXXIII, Heathcliff confesses to Nelly his inner state. What Nelly calls Heathcliff’s ―monomania on the subject of his departed idol‖ has now reached its final stage of development. In the passage in which Heathcliff describes his excavation of Catherine’s grave, the reader gains insight into Heathcliff’s frustration regarding the double nature of all of Catherine’s ―memoranda.‖ While Catherine’s corpse recalls her presence, it fails to substitute fully for it, and thus recalls her absence. Heathcliff’s perception of this doubling comes through in his language. The many signs of Catherine show that ―she did exist‖ but that ―I have lost her.‖ In the end, because his whole being is bound up with Catherine, Heathcliff’s total set of perceptions of the world is permeated by her presence. Consequently, he f inds signs of Catherine in ―[t]he entire world,‖ and not just in localized figures such as her daughter or a portrait of Catherine.

Key Facts

FULL TITLE ·Wuthering Heights

AUTHOR · Emily Bront?

TYPE OF WORK · Novel

GENRE · Gothic novel (designed to both horrify and fascinate readers with scenes of passion and cruelty; supernatural elements; and a dark, foreboding atmosphere); also realist fiction (incorporates vivid circumstantial detail into a consistently and minutely thought-out plot, dealing mostly with the relationships of the characters to one another)

LANGUAGE · English (including bits of Yorkshire dialect)

TIME AND PLACE WRITTEN · In 1846–7, Emily Bront? wrote Wuthering Heights in the parsonage of the isolated village of Haworth, in Yorkshire.

DATE OF FIRST PUBLICATION · 1847

PUBLISHER · Thomas C. Newby

NARRATOR · Lockwood, a newcomer to the locale of Wuthering Heights, narrates the entire novel as an entry in his diary. The story that Lockwood records is told to him by Nelly, a servant, and Lockwood writes most of the narrative in her voice, describing how she told it to him. Some parts of Nelly’s story are narrated by other characters, such as when Nelly receives a letter from Isabe lla and recites its contents verbatim.

POINT OF VIEW · Mo st of the events of the novel are narrated in Nelly’s voice, from Nelly’s point of view, focusing only on what Nelly can see and hear, or what she can find out about indirectly. Nelly frequently comments on what the other characters think and feel, and on what their motivations are, but these comments are all based on her own interpretations of the other characters—she is not an omniscient narrator.

TONE ·It is not easy to infer the author’s attitude toward the events of the novel. The melodramatic qualit y of the first half of the novel suggests that Bront? views Catherine and Heathcliff’s doomed love as a tragedy of lost potential and wasted passion. However, the outcome of the second half of the novel suggests that Bront? is more interested in celebrating the renewal and rebirth brought about by the passage of time, and the rise of a new generation, than she is in mourning Heathcliff and Catherine.

TENSE ·Both Lockwood’s and Nelly’s narrations are in the past tense.

SETTING (TIME) · The action of Nelly’s story begins in the 1770s; Lockwood leaves Yorkshire in 1802.

SETTING (PLACE) · All the action of Wuthering Heights takes place in or around two neighboring houses on the Yorkshire moors—Wuthering Heights and Thrushcross Grange.

PROTAGONISTS · Heathcliff, Catherine

MAJOR CONFLICTS ·Heathcliff’s great natural abilities, strength of character, and love for Catherine Earnshaw all enable him to raise himself from humble beginnings to the status of a wealthy gentleman, but his need to revenge himself for Hindley’s abuse and Catherine’s betrayal leads him into a twisted life of cruelty and hatred; Catherine is torn between her love for Heathcliff a nd her desire to be a gentlewoman, and her decision to marry the genteel Edgar Linton drags almost all of the n ovel’s characters into conflict with Heathcliff.

RISING ACTION ·Heathcliff’s arrival at Wuthering Heights, Hindley’s abusive treatment of Heathcliff, and Catherine’s first visit to Thrushcross Grange set the major conflicts in motion; once Heathcliff hea rs Cathy say it would ―degrade‖ her to marry him, the conversation between Nelly and Cathy, which he secretly overhears, drives him to run away and pursue his vengeance.

CLIMAX ·Catherine’s death is the culmination of the conflict between herself and Hea thcliff and removes any possibility that their conflict could be resolved positively; after Catherine’s death, Heathcliff merely extends and deepens his drives toward reven ge and cruelty.

FALLING ACTION · Heathcliff destroys Isabella and drives her away, takes possession of young Linton, forces Catherine and Linton to marry, inherits Thrushcross Grange, then loses interest in the whole project and dies; Hareton and young Catherine are to be engaged to be married, promising an end to the cycle of revenge.

THEMES · The destructiveness of a love that never changes; the precariousness of social class

MOTIFS · Doubles, repetition, the conflict between nature and culture

SYMBOLS · The moors, ghosts

FORESHADOWING ·Lockwood’s initial visit to Wuthering Height s, in which the mysterious relationships and lurking resentments between the characters create an air of mystery; Lockwood’s ghostly nightmares, during the night he spends in Catherine’s old bed, prefigure many of the events of the rest of the novel.

Study Questions & Essay Topics

Study Questions

1. Many of the names in Wuthering Heights are strikingly similar. For example, besides the two Catherines, there are a number of Lintons, Earnshaws, and Heathcliffs whose names vary only slightly. What role do specific names play in Wuthering Heights?

Answer for Study Question #1Names have a thematic significance in Wuthering Heights. As the second generation of characters gradually exhibits certain characteristics of the first generation, names come to represent particular attributes. The Earnshaws are wild and passionate, the Lintons tame and civilized; therefore, young Catherine Linton displays a milder disposition than her mother, Catherine Earnshaw. Linton Heathcliff becomes a mixture of the worst of both his parents. In other words, he possesses Heathcliff’s arrogance and imperiousness, combined with the Lintons’ cowardice and frailty. Names in Wuthering Heights also serve to emphasize the cyclic nature of the story. Just as the novel begins and ends with a Catherine Earnshaw, the name of Hareton Earnshaw also bookends an era; the final master of Wuthering Heights shares his name with a distant ancestor, whose name was inscribed above the main door in 1500.

2. In many ways, Wuthering Heights structures itself around matched, contrasting pairs of themes and of characters. What are some of these pairs, and what role do they play in the book?

Answer for Study Question #2Matched and contrasting pairs form the apparatus through which the book’s thematic conflicts play out, as the differences between opposed characters and themes force their way into action and development. Some of the pairs include: the two manor houses, Wuthering Heights and Thrushcross Grange; the two loves in Catherine’s life, Heathcliff and Edgar; the two Catherines in the n ovel, mother and daughter; the two halves of the novel, separated by Catherine’s death; the two generations of main characters, each of which occupies one half of the novel; the two families, Earnshaw and Linton, whose family trees are almost exactly symmetrical; and the two great themes of the novel, love and revenge. By placing these elements into pairs, the novel both compares and contrasts them to each other. The device of pairing serves to emphasize the book’s themes, as well as to develop the char acters.

3. Analyze the character of Edgar Linton. Is he a sympathetic figure? How does he compare to Heathcliff? Is Catherine really in love with him? Answer for Study Question #3

Edgar Linton is a kind, gentle, civilized, somewhat cowardly man who represents the qualities of Thrushcross Grange as opposed to the qualities of Wuthering Heights. Married to a woman whom he loves but whose passions he cannot understand, Edgar is a highly sympathetic figure after Heathcliff returns to Wuthering Heights. The man finds himself in an almost impossible position, seeing his wife obviously in love with another man but unable to do anything to rectify the situation. Still, he proves weak and ineffectual when compared to the strong-willed Heathcliff, and thus can exercise almost no claim on Catherine’s mind and heart.

While the reader may pity Edgar and feel that morality may be on his side, it is hard not to sympathize with the charismatic Catherine and Heathcliff in their passionate love. It is impossible to think that Catherine does not really love Edgar with some part of herself. Although she marries him largely because of her desire for his social status, she seems genuinely drawn to his good looks, polished manners, and kind demeanor. But it is also impossible to think that her feelings for Edgar equal her feelings for Heathcliff—compared with her wild, elemental passion for Heathcliff, her love for her husband seems frail and somewhat proper,

用九型人格解读《呼啸山庄》中的人物

Vol.33No.3 M ar.2012 第33卷第3期2012年3月赤峰学院学报（汉文哲学社会科学版） Journal of Chifeng University （Soc.Sci ）一、故事梗概《呼啸山庄》是英国女作家勃朗特姐妹之一艾米莉·勃朗特的作品。小说叙述了三十多年间恩萧和林淳两家两代人的感情纠葛。呼啸山庄的主人，乡绅恩萧带回来了一个身份不明的孩子，取名希刺克厉夫，他夺取了主人对小主人辛德雷和他的妹妹凯瑟琳的宠爱。主人死后，辛德雷为报复把希刺克厉夫贬为奴仆，并百般迫害，可是凯瑟琳跟他亲密无间，青梅竹马。后来，凯瑟琳嫁给了画眉田庄的文静青年埃德加。希刺克利夫愤而出走，三年后致富回乡。希刺克厉夫为此进行疯狂的报复，通过赌博夺走了辛德雷的家财。辛德雷本人酒醉而死，儿子哈里顿成了奴仆。他还故意娶了埃德加的妹妹伊莎贝拉，进行迫害。内心痛苦不堪的凯瑟琳在生产中死去。十年后，希刺克厉夫又施计使埃德加的女儿小凯蒂，嫁给了自己即将死去的儿子小林淳。埃德加和小林淳都死了，希刺克利夫最终把埃德加家的财产据为己有。复仇得逞了，但是他无法从对死去的凯瑟琳的苦恋中解脱出来，最终绝食而死。小凯蒂和哈里顿两人相爱，继承了所有的产业，去画眉田庄安了家。小说充满了强烈的反压迫.求自由求幸福的斗争精神，又始终充满了错综复杂和惊心动魄的氛围。二、九型人格理论与《呼啸山庄》中的人物性格九型人格（Enneagram ），又名性格型态学、九种性格。美国亚力山大·汤马斯医生和史黛拉·翟斯医生在他们1977年出版《气质和发展》一书中提到，我们可以在出生后第二至第三个月的婴儿身上辨认出九种不同的气质，它们是：活跃程度；规律性；主动性；适应性；感兴趣的范围；反应的强度；心景的素质；分心程度；专注力范围/持久性。戴维·丹尼尔斯则发现这九种不同的气质刚好和九型人格相配。九型人格是一种精妙的性格分析工具，它是一个近年来倍受美国斯坦福等国际著名大学MBA 学员推崇并成为现今最热门的课程之一，近十几年来已风行欧美学术界及工商界。第一型：完美型完美主义者主要特征：原则性、不易妥协、追求完美、不断改进、感情世界薄弱；时刻反省自己是否犯错，也会纠正别人的错。忍耐、有毅力、守承诺、贯彻始终、爱家顾家、守法、有影响力，喜欢控制、光明磊落。小说中的代表人物是埃德加。儿时的埃德加是羞涩的，优柔的。这点也被希刺克厉夫瞧不起。在他和凯瑟琳第一次进入画眉田庄时，看到埃德加和妹妹为了一只小狗而争执，他说“呆子！这就是他们的乐趣！争执着谁该抱那堆暖和的软毛，然后两个都开始哭了……就是再让我活一千次，我也不要拿我在这儿的地位和埃德加在画眉田庄的地位交换” ① 不能否认，埃德加是文弱的。第二次见面，希刺克厉夫把他当作情敌，抓起苹果酱泼向埃德加，弄得埃德加哭喊起来，此时他仍然压抑自己的怒气和傲慢，没有直接和希刺克厉夫打架，一方面是由于懦弱，另一方面是他也意识到自己的傲慢有些过头，有在反省自己的过错，而且看到希刺克厉夫受到了辛德雷的惩罚，也不再纠结这件事，这点也体现了他的善良和他不愿意破坏自己形象的追求完美的心理。长大之后，连凯瑟琳都向耐莉承认，自己是爱埃德加的，因为他年轻，长得俊俏，爱慕她，富有，可以让她成为当地最尊贵的女人。 “凯瑟琳选择林淳也并非一时冲动的结果，世俗用九型人格解读《呼啸山庄》中的人物洪秀芸（福建工程学院外语系，福建福州 350007）摘要：《呼啸山庄》是英国女作家艾米莉·勃朗特的小说，描写一个成长与背叛，爱情与复仇的故事。本文采用九型人格来解读小说中主要人物的性格，揭示其鲜活和复杂性。关键词：呼啸山庄；九型人格；人物性格中图分类号： I106.4文献标识码：A 文章编号：1673-2596（2012）03-0142-05 142--

《呼啸山庄》英文读后感

《呼啸山庄》英文读后感篇一：呼啸山庄英文呼啸山庄英文读后感 In this summer, I read another book Wuthering Heights. Wuthering Heights is written by Emily Bronte. After reading that book, the love and the hatred between Catherine and Heath Cliff still linger in my head. The story begun with a mistake that made by Lockwood, a temporary resident. He is seeking shelter from the blizzard he staggers through the door of Wuthering Heights, finding the atmosphere inside is just as cold as ice. The master of the house, Heath Cliff, provides a bed reluctantly and it seems like that he feels ill at ease with his visitor’s ing. There's a sad tale behind his indifference, one which the elderly housekeeper Nelly Dean is happy to share.

浅析《呼啸山庄》希斯克利夫人物形象及其悲剧意义

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《呼啸山庄》片段赏析

《呼啸山庄》片段赏析作者：卢月来源：《新高考·高一英语》2012年第01期【故事梗概】《呼啸山庄》是英国女作家勃朗特姐妹之一艾米莉·勃朗特的作品。小说描写吉卜赛弃儿希斯克利夫被山庄老主人收养后，因受辱和恋爱不遂，外出致富，回来后对与其女友凯瑟琳结婚的地主林顿及其子女进行报复的故事。全篇充满强烈的反压迫、争幸福的斗争精神，又始终笼罩着离奇、紧张的浪漫气氛。它开始曾被人看做是年青女作家脱离现实的天真幻想，但结合其所描写地区激烈的阶级斗争和英国的社会现象，它不久便被评论界高度肯定，并受到读者的热烈欢迎。根据这部小说改编的影视作品至今久演不衰。【节选片段】 Chapter 1 Mr Lockwood visits Wuthering Heights 1801 I have just returned from a visit to my landlord①, Mr Heathcliff. I am delighted with the house I am renting from him. Thrushcross Grange（画眉山庄） is miles away from any town or village. That suits me perfectly. And the scenery here in Yorkshire is so beautiful！ Mr Heathcliff, in fact, is my only neighbour, and I think his character is similar to mine. He does not like people either. “My name is Lockwood,” I said, when I met him at the gate to his house. “I’m renting Thrushcross Grange from you. I just wanted to come and introduce myself.” He said nothing, but frowned②, and did not encourage me to enter. After a while, however, he decided to invite me in. “Joseph, take Mr Lock wood’s horse!” he called. “And bring up some wine from the cellar!” Joseph was a very old servant, with a sour③ expression on his face. He looked crossly up at me as he took my horse. “God help us! A visitor!” he muttered④ to himself. Perhaps there were no other servants, I thought. And it seemed that Mr Heathcliff hardly ever received guests. His house is called Wuthering Heights. The name means “a windswept house on a hill”, and it is a very good description. The trees around the house do not grow straight, but are bent by the north wind, which blows over the moors every day of the year. Fortunately, the house is strongly built, and

呼啸山庄英文人物简介

Heathcliff is a fictional character in the novel Wuthering Heights by Emily Bront?. Owing to the novel's enduring fame and popularity, he is often regarded as an archetype of the tortured Romantic Byronic hero whose all-consuming passions destroy both himself and those around him. Heathcliff can also be viewed as a reflection and product of his psychological past: the abuse, neglect and scorn of those with whom he grows up render him abusive, neglectful and scornful. Legend has stereotyped him somewhat into a romantic hero, and he is generally known more for his love for Catherine Earnshaw than his final years of vengeance in the second half of the novel, in which he grows into a bitter, haunted man (although there are also a number of incidents in Heathcliff's early life that show that he was an angry and sometimes malicious individual from the beginning; again, these tend to be glossed over in the popular imagination). His complicated, mesmerising and altogether bizarre nature makes him a rare character, with components of both the hero and the anti-hero. Catherine Earnshaw, known as Catherine Linton after her marriage, is the main female protagonist of Emily Bront?'s novel Wuthering Heights. While residing in her ancestral home Wuthering Heights, she forms a deep romantic bond with foster brother Heathcliff, one that leads them both into misery, violence and despair. Edgar Linton is a character in Emily Bront?'s novel Wuthering Heights. His role in the story is that of Catherine Earnshaw's husband. He resides at Thrushcross Grange and falls prey to Heathcliff's schemes for revenge against his family. Edgar is the father of his and Catherine's daughter, Catherine Linton, and the brother of Isabella Linton. He is a complete foil of Heathcliff as a character, as shown by his tender, gentle, and weak personality as opposed to Heathcliff's savage, tyrannical nature. Isabella Linton is a female character in Emily Bront?'s only novel Wuthering Heights. She is the sister of Edgar Linton and the wife of Heathcliff. Hindley Earnshaw is a male character in Emily Bronte's novel Wuthering Heights. The brother of Catherine Earnshaw, father of Hareton Earnshaw, and sworn enemy of Heathcliff, he descends into a life of drunkenness, degradation, and misery after his wife Frances dies in childbirth, enabling

呼啸山庄英文读后感

Wuthering Heights Wuthering Heights was published in 1847, and was the only novel written by Emily Bronte. As we know, Emily Bronte and Charlotte, Anne was together called as three sisters? constellation in the English literary history. In 1818, Emily Bronte was born in the poor priest family. With less than two years old, she and her family moved to Howard areas and lived in a remote wilderness, and she never left there. When she was 27 years old, she started to write Wuthering Heights, and published it when she was 29 years old. But Wuthering Heights was not well received by the reading public, many of whom condemned it as sordid, vulgar, and unnatural--and author Emily Bronte went to her grave in 1848 believing that her only novel was a failure. It was not until 1850, when Wuthering Heights received a second printing with an introduction by Emily's sister Charlotte, that it attracted a wide readership. And from that point the reputation of the book has never looked back. Today it is widely recognized as one of the great novels of English literature. Wuthering Heights is a story of love and revenge; it is the typical gothic novel. It is told in the form of an extended flashback. After a visit to his strange landlord, a newcomer to the area desires to know the history of the family--which he receives from Nelly Deans, a servant who introduces us to the Earnshaw family who once resided in the house known as Wuthering Heights. It was once a cheerful place, but Old Earnshaw adopted a "Gipsy" child who he named Heathcliff. And Catherine, daughter of the house, regarded him as the perfect companion: wild, rude, and as proud and cruel as she. But although Catherine loves him, even recognizes him as her soul mate, she cannot lower herself to marry so far below her social station. She instead marries another, and in so doing sets in motion an obsession that will destroy them all. Wuthering Heights is not so easy to “get into” , because the description of the environment and the character, the portrait of this obsessive love is so dark and somewhat off-putting. But in this novel there was the flow of the work in a remarkable way setting the stage for one of the most remarkable structures. And these structures circles upon itself in a series of repetitions as it plays out across two generations. Besides, the description of wasteland in the novel gave more impression for readers. Wasteland gives Wuthering Heights rare vigor and charm and gloomier, mysterious, wild, remarkable, full of passion. What?s more, it is the temper ament and charm of Wuthering Heights, and can be summed up in two ways: one is the Wuthering of humanity; the other is the Wuthering of nature. Wuthering Heights explores the philosophy of humanity. The characters in the novel are full of boldness, wildness and passion which is the human nature and instinct that free from the restrict of social civilization. In this novel, passion

英语论文呼啸山庄

毕业论文题目：Return to Nature – On the Conflict between Nature and Civilization in Wuthering Heights 学院：外国语学院

摘要艾米莉·勃朗特是英国维多利亚时期一名杰出的作家。她短暂的一生只留下一部杰作－－《呼啸山庄》。这部小说因其永久的魅力和广泛的畅销被列为世界名著。然而，这部小说的价值直到二十世纪才被人们重新发现。随着时间的推移，她的小说越来越受到关注。一百多年来，学术界对其小说《呼啸山庄》分别从主题、主旨、写作技巧、语言风格、女性主义、生态批评等不同角度进行过研究。本文从象征主义的角度来解读自然和文明的关系，二者之间相互斗争，但最终因为文明的侵犯和本性的扼杀造成了西斯克里夫和凯瑟琳的爱情悲剧，同时折射出造成人类悲剧命运的根源和重回自然的思想。勃朗特在《呼啸山庄》中构建起分别象征着自然的呼啸山庄和文明的画眉山庄，把维多利亚时代的矛盾压缩进两个家庭的故事中。本文以凯瑟琳的命运为中心线索，分别论证了呼啸山庄和画眉山庄的象征意义。凯瑟琳是文明和自然的交织点，通过论述凯瑟琳的异化，迷失和归复来说明文明压抑了人性，要求人顺应人性回归自然的思想。关键词：自然；文明；凯瑟琳；西斯克里夫；象征主义

Abstract Emily Bront? is a brilliant writer in Victorian Age. In her short life, she writes only one novel, Wuthering Heights, which has become a worldwide classic for its enduring interest and wide popularity. However, the novel is ignored by the readers and critics of the Victorian Age. It is not until the 20th century that the true value of the novel is discovered. As time passes by, her novel has gained more and more attention. Throughout the hundred years the scholars have attained remarkable achievements from diffident points of view, such as themes, narrative skills, writing style, language, feminism and ecocriticism. This paper tries to apply symbolism to analyze the relation between nature and civilization, which are fighting with each other. But the violation of civilization and the death of nature are responsible for the tragedy of Heathcliff and Catherine. The novel mirrors the root of tragedy of human and akes people to return to nature. In this novel Bront? builds Wuthering Heights and Thrushcross Grange, which are the tokens of nature and civilization respectively. She condenses the contradiction of the Victorian Age into the story of the two families. The paper is built around the fate of Catherine. It studies the symbolic meanings of Wuthering Heights and Thrushcross Grange. Catherine is the conjunction of nature and civilization and the conflict of them is vividly shown in her. The alienation, loss and return of Catherine indicates that civilization represses the nature of human and man should return and comply to nature. Key words: nature; civilization; Catherine; Heathcliff; symbolism

呼啸山庄英文读后感3篇完整版

《呼啸山庄英文读后感》呼啸山庄英文读后感（一）： Thoughts or reflections on reading Wuthering Heights The book was written by Emily Bronte， it published in 1847。But at that time， it seemed to hold little promise， selling very poorly and receiving only a few mixed reviews。 I found this in our school library，I chose this book because the title attracted me。 The book is structured around two parallel love stories， the first half of the novel centering on the love between Catherine and Heathcliff， while the less dramatic second half features the developing love between young Catherine and Hareton。 In contrast to the first， the latter tale ends happily， restoring peace and order to Wuthering Heights and Thrushcross Grange。 In the story，the two houses， Wuthering Heights and Thrushcross Grange， represent opposing worlds and values。 I spent twenty days reading this book。 After reading this book， I felt for Heathcliff at first。 Heathcliff begins his life as a homeless orphan on the streets of Liverpool， and then he tyrannized by Hindley Earnshaw。 But he bees a villain when he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman。His malevolence proves so great and longlasting。 As he himself points out，his abuse of Isabellahis wife is purely sadistic， as he amuses himself by seeing how much abuse she can take and still e cringing back for more。 Catherine represents wild nature， in both her high， lively spirits and her occasional cruelty。 She loves Heathcliff so intensely that she claims they are the same person。 However， her actions are driven in part by her social ambitions， which initially are awakened during her first stay at the Lintons， and which eventually pel her to marry Edgar。 Catherine is freespirited， beautiful， spoiled， and often arrogant， she is given to fits of temper， and she is torn between her both of the men who love her。 The location of her coffin symbolizes the conflict that tears apart her short life。 She is buried in a corner of the Kirkyard。 In contrast to Catherine， Isabella LintonCatherines sisterinlaw represents culture and civilization， both in her refinement and in her weakness。 Ultimately，she ruins her life by falling in love with Heathcliff。 He never returns her feelings and treats her as a meretool in his quest for revenge on the Linton family。 Just as Isabella Linton serves as Catherines foil， Edgar Linton serves as Heathcliffs。 Edgar grows into a tender， constant， but cowardly man。

对《呼啸山庄》的多重解读

对《呼啸山庄》的多重解读《呼啸山庄》是19世纪英国文学的代表作之一，是英国女作家勃朗特姐妹之一艾米莉·勃朗特的作品，同时也是她一生中唯一的一部小说作品。小说讲述吉卜赛弃儿希斯克利夫被山庄老主人收养后，因受辱和恋爱不遂而愤然出走，衣锦还乡后对与其爱人凯瑟琳结婚的地主林顿及其子女进行报复的故事。小说通篇充满强烈的反压迫、争幸福的斗争精神，却又始终笼罩着离奇、紧张的浪漫气氛。小说作者通过一个爱情悲剧向人们展示了一幅畸形社会的生活画面，勾勒了被畸形社会扭曲了的人性及其造成的种种恐怖的事件。这部被称为是在维多利亚时代小说中“唯一的一部没有被时间的尘土遮没了光辉”的作品，历来受到学者们的关注和解读。在这部作品里，传统的叙事时序被打乱，倒叙的手法使故事富于跳跃性、戏剧性，使读者理解起来比较困难，因此曾被评论家指责为“乱七八糟、拼拼凑凑、不成体统”。然而这种不拘一格的叙述方式正是作者的匠心独具之所在。正是这种精巧的布局、独特的表现手法，在历史与现实的交融中完成了作家对生命、爱情、人生的深沉思考与追求，体现了小说的魅力和价值。本文尝试从小说的爱情线索、人物情感，以及女性人物三个方面对作品进行解读： 1、从形式主义的视角解读呼啸山庄形式主义强调对作品形式的分析，而非内容的研究。形式主义认为，一部文学作品所表达的东西是与它是如何组成的联系在一起的。这里的“如何组成”便是作品的形式。如果我们不注意《李尔王》是通过双线结构的方式构建起来的，我们就无法充分理解它的意义。在这种结构中，老国王在一条线索中死去，而新国王却在另一条线索中诞生。剧本意义的充分表达要求这种双线结构的形式。（摘自《文学作品的多重解读》迈克尔·莱恩[美]）也就是说，《李尔王》中意义的产生依附于双线结构的构建。探究《呼啸山庄》的叙事形式不难发现，小说铺展着两条爱情线索：一条是希斯克利夫与凯瑟琳·恩肖以及埃德加·林顿的爱情三角关系；另一条则是林顿·希斯克利夫与凯瑟琳·林顿还有哈里顿·恩肖的三角关系。这样的人物关系看似复杂，实质可划分为两代人的爱情线索；但这两代人的爱情线索又并非平行发展，而是相互交错、共同延续。在这里，两条爱情线索共同支撑起整部小说的人物命运。其中主人公希斯克利夫是线索一的“参与者”，同时也是线索二的“策划者”。作者让希斯克利夫与凯瑟琳·肖恩相爱，却又安排“第三者”埃德加·林顿插足，使得希斯克利夫从美好的爱情愿望里跌进了无尽的仇恨与悲痛中。线索二的出现正是希斯克利夫悲痛愤恨的延续以及复仇心理的爆发——他让自己那

呼啸山庄故事梗概中英文

《呼啸山庄》简介 1801年，洛克乌先生来到山庄拜访希克厉先生，要租下他的画眉山庄，希克厉先生对他很粗暴，还有一群恶狗向他发起进攻。但他还是又一次造访希克厉先生，他遇到了行为粗俗，不修边幅的英俊少年哈里顿恩肖，和貌美的希克厉先生之子的遗孀。由于天黑又下雪希克厉先生不得不留他住了下来，夜里他做了一个奇怪的梦，梦见树枝打在窗齿打碎玻璃，想折断外头的树枝，可手指却触到一双冰凉的小手，一个幽灵似的啜泣声乞求他放她进来。她说她叫卡瑟琳·恩萧，已经在这游荡了20年了，她想闯进来，吓得洛克乌失声大叫。希克厉先生闻声赶来，让洛克乌出去，他自己扑倒在床上，哭着叫起来：“卡茜，来吧！啊，来呀，再来一次！啊，我心中最亲爱的！卡瑟琳，最后一次！”可窗外毫无声息，一阵冷风吹灭了蜡烛。第二天，洛克乌先生来到画眉山庄，向女管家艾伦迪恩问起此事，女管家便讲了发生在呼啸山庄的事情。呼啸山庄已有300年的历史，以前的主人欧肖夫妇从街头捡来一个吉普赛人的弃儿，收他做养子，这就是希克厉。希克厉一到这家就受到才先生的儿子享德莱的欺负和虐待，可享德莱的妹妹卡瑟琳却与希克厉疯狂地相爱了。老主人死了之后，已婚的享德莱成了呼啸山庄的主人。他开始阻止希克厉和卡瑟琳的交往，并把希克厉赶到田里去干活，不断地差辱他，折磨他，他变得不近人情，近乎痴呆，卡瑟琳也变得野性十足。一次，他们到画眉山庄去玩，卡瑟琳被狗咬伤，主人林敦夫妇知道她是欧肖家的孩子，就热情地留她养伤，而把希克厉当成坏小子赶跑了。卡瑟琳和林敦的儿子埃德加、女儿伊莎贝拉成了好朋友。卡瑟琳住了五个长星期回来后，变成温文尔雅，仪态万方的富家小姐。当他再次见到希克厉时，生怕他弄脏了自己的衣服。希克厉的自尊心受到了伤害，他说：“我愿意怎么脏，就怎么脏。”他发誓要对享德莱进行报复，他心中的野性和愤恨全部对准享德莱。 1778年6月，享德莱的妻子生下哈里顿恩肖后因肺病死去，亨德莱受了很大的打击，从此变得更加残忍，更加冷酷无情。卡瑟琳徘徊于希克厉和埃德加的爱情之间，她真心爱希克厉，但又觉得与一个仆人结婚，有失身份。当埃德加向她求婚时，想到他的漂亮和富有，便答应了。但在她灵魂深处，非常明白自己错了，便向女仆艾伦迪恩吐露真情：“我对埃德加的爱像树林中的叶子，当冬季改变树木的时候，随之就会改变叶子。我对希克厉的爱却像地下永久不变的岩石……我就是希克厉！他无时无刻不在我心中，并不是作为一种乐趣，而是作为我的一部分。” 希斯克里夫不巧听到了她们对话的前半部分，痛苦万分，当夜离开了呼啸山庄，卡瑟琳因希克厉的离去而大病一场。后来林敦夫妇相继得热病而死，在他们死后三年，卡瑟琳同埃德加结婚了。

《呼啸山庄》英语文学赏析论文

Abstract Emily Jane Bront? was an English novelist and poet, now best remembered for her novel Wuthering Heights, a classic of English literature. It's a story about love and revenge, which narrates love and hate of Earnshaws and Lintons between generations. The novel follows the life of Heathcliff, a mysterious gypsy-like person, from childhood to his death in his late thirties. Key words: Wuthering Heights; novel; Emily Bront?; Heathcliff; Cathy 1.About the author Emily was the second eldest of the world-famous Bront? sisters, between Charlotte and Anne. She published under the androgynous pen name Ellis Bell. She was born in 1818 and died in 1848. It’s a pity that she died when she was only thirty years old. Emily had deep love for writing poems since she was only a child. She was quiet and shy, but her poems and novel are full of rebellious spirits. We can read her thirst for freedom, equality and love between the lines. Emily Bronte was not only shy but also independent, firm and persistent. Her life is very short and she didn’t get a complete education or get married during her short life, so people suspect that how can she accomplish such a novel, a story filled with deep love and hate, a story so complicated and intricate. Therefore, Emily has been considered a talent in literature all the time. However, her talent is reasonable. Emily has read a lot of books and fairy tales when she was a child. What’s more, although the three sisters lived in a poor family, their parents had talents in literature. Their father once published his own poetry anthology, and their mother had written many beautiful love letters to their father before they got married. Influenced by her parents and the wasteland around their