Wuthering Heights Narrative Technique - Case Study Example

To what extent does Wuthering Heights’ narrative technique anticipate modernist experiments with form? In her novel Wuthering Heights, Emily Brontechallenges the typical ideas and social norms of her time by giving her readers a story with a narrative so focused on modernity and futuristic ideals that it re-invented the love story. Bronte challenges the ideas of her society proving that love can transcend social class and position in life. She proves that a person can change their destiny in life and rise from poverty to high esteem. The novel employs different perspectives as different narrators take part in telling the story. This retelling has made many literary critics refer to Bronte’s book as a novel within a novel leaving the reader left to choose between the opposing sides and different perspectives. This distinctive narrative truly sets the novel apart from any of its counterparts because it allows for the reader to incorporate their own ideals and morals into the overall understanding of the story. The reader is forced to play an essential role in the development and understanding of the novel, personalizing the story for each individual reader. With its multiple descriptions and multiple narrators, the novel is groundbreaking in its experimental writing form. This ground breaking and experimental way of writing is what gives Wuthering Heights its unique narrative and modern outlook as is anticipates the up and coming modernist experiments with form. Bronte uses the “overt content of the marginal narratives to give place to the texts embedded between their lines. Such an approach then constitutes an over reading of the overwritten word; an over reading that enables that word to be read in a new light” (London 2000, pp. 36). One of the most obvious uses of this technique can be seen in the narrative of Nelly Dean. Bronte wrote Nellys side of the story from both that of a lower class woman and a citizen part of a changing social class. Nelly’s narrative causes the reader to take in the story from both an insider and outsiders voice, making the writing style very new for its time and characterizes the novel as one of its most striking effects. These effects “foreground an original, unconventional tale of passion, Bronte relegates to the narrative margins the dominant forms of social intercourse, the privileged terms of morality, religion, gender and class” (London 2000, pp. 36). Wuthering Heights begins with a reading of Mr. Lockwood’s diary saying, "1801, I have just returned from a visit to my landlord"(Bronte 2005, pp. 1). Though Mr. Lockwoods voice begins the novel, the diary entry date soon foreshadows the future uses of multiple narrators to aid in the storytelling. Through the multiple narrators, the story of the Earnshaws, Lintons, and Heathcliff are told in bits and pieces throughout the novel. They “outline a saga which takes place in the past, which grows closer as the novel progresses” (Enscoe 2003, pp. 9). The uses of the diaries in the novel create a outline for the story and serving as a guide for the narrator and a reason to elaborate on the story. The novels third chapter introduces the reader to Catherine’s , "regular diary" (Bronte 2005, pp. 16), as Lockwood terms it. IN this diary, Catherine relays all of the injustices that she has suffered along with Heathcliff along with her passions and desire to escape the stifling prison of Wuthering Heights. Bronte describes the diary as, "scrawled in an unformed, childish hand" in the margins of an old religious book and stowed away in the confines of the cabinet bed” (Bronte 2005, pp. 16). Catherines diary, when compared to Lockwoods, could not seem more different. “Lockwoods appears to function primarily to relay the narrative, while Catherines embodies a revelation of experience and subjectivity” (McCarthy 1981, pp. 12). Lockwoods diary does not contain and page number or dates, while Catherines is emphatically material. Lockwoods moves through time, both the year he spends at Thrushcross Grange and the decades of his story. On the other hand, Catherines gives the reader only the fragments of a single day. While the novel is in fact a narrative within a narrative, Catherines diary continues to work in unison with Lockwood’s as they narrate the novel. One of the most transparent narrators in the story is Mr. Lockwood. Bronte created him to represent a stereotype of the overall beliefs and customs of the Victorian society. He is constantly being shocked by Heathcliffs actions and his gaining a higher social position. “Lockwoods reading of the diary, then reverses conventional priorities, calling into question our ability to distinguish gloss from text, and the reconstructive ordering of his dreams inverts them yet again” (Christopher 2006, pp. 54). Similar to the diary reading, Lockwoods narration and writing create the same effect as it reproduces itself in a type of mimicking form. It is almost as if Lockwoods narration mirrors the diary as it seems he is writing his own diary of his own life along the way. Unlike the narration of Catherine, Lockwoods narration remains faithful to the representation of Victorian society as a whole as he offers only marginal commentary in his texts. This could have been written as such so that the author could give the reader a chance to interact with the story, taking the place of Lockwood, and allowing them a chance to form their own thoughts and commentary on the events in the story. Lockwood continues his narrative throughout the novel offering no apparent explanation as to why he felt obliged to take part in the narration of the story. He even goes so far as to let the reader that he is only participating to pass the time and is interest in the story does not increase at all throughout his entire narration. “He admits to no overt fascination with what he hears; he merely scrupulously sets down what he has been told” (London 2000, pp. 38). He consistently resists entering into the story making his own story fade into the background while the more important story takes the forefront. “Lockwood’s less than definitive statement at the end of his narrative, wondering ‘how any one could ever imagine unquiet slumbers for the sleepers in that quiet earth’ (Bronte 2005, pp. 300) could suggest that he is neither affirmative nor negative about the supernatural” (Oda 2007, pp. 219). Throughout his narrative he constantly makes references like this to ensure the reader that he is a neutral voice. This leaves it up to the reader to form their own opinions as the novel “ reflects contemporary ideas about undermining the institutions of the state and about subverting class- and gender-based hierarchies” ( Cory 2005, pp. 26). It becomes obvious through Catherines narrative that she, like Lockwood, seeks of place of her own in the overbearing ideals of Victorian society. She was orphaned when she was very young and because of this, clings to Heathcliff as a means of support. She is constantly harassed by her older brother and is bombarded by Joseph. She is also the only woman in the house, besides the servants, and this makes it exptememly difficult for her to find her footing and feel at home with her surroundings. “Catherine uses her diary to detail a series of struggles which she attempts to overcome in order to find a place for herself in the world” (McCarthy 1981, pp. 12). One istance she clearly outlines is the day in which the rain prevents her attendance at church and instead a congregation is created at home by Joseph. Catherine describes the scene as, "Heathcliff, myself, and the unhappy plough-boy were commanded to take our Prayer-books, and mount. We were ranged in a row, on a sack of corn, groaning and shivering, and hoping that Joseph would shiver too, so that he might gives us a short homily for his own sake" (Bronte 2005, pp. 16). “Released downstairs, where Hindley makes clear his power to control the environment, Catherine attempts to create a refuge, but fails. Upon this attempt at rebellion she is severely attacked by Hindley who physically enforced the reality that she does not truly have a home at Wuthering Heights” (McCarthy 1981, pp. 12). This symbolizes the idea that Catherine would stand out in any aspect of Victorian society because she does not fit in with their ideals. Bronte uses descriptions of the house to reveal Catherine’s state of emotions at the time, ‘the reader becomes accustomed to Emily Bronte’s habitual use of the image of the house, with its windows and doors, variously locked or open, as a figure for varying psychic conditions” (Crouse 2008, pp. 13). Using locked windows and shut doors, helps convey to the reader that Catherine is trapped and has no way of escaping her life. She struggles and is torn between the love of two men, often causing her feelings of being trapped to magnify. “Wuthering Heights is an analysis of love. Almost clinically the novel sets apart what is intertwined and clarifies what is confused. The process of distillation engenders insupportable tensions and cruelties, as the contingent and empirical are played off against the necessary and — in Kantian terms — transcendental” (Phillips 2007, pp. 98). This modern analysis sets Wuthering Heights apart from other novels at the time, because it portrays the love story between Heathcliff and Catherine in a very realistic way, with all of the obstacles and hurdles that come along with it. Another aspect of Brontes narrative that was experimental at the time was way in which she did not limit the actions of her story in any way. The characters seem to float seamlessly between actions of both the external and internal world. A perfect example of this can been seen in the development of Heathcliff. The success of Heathcliff was something that was highly unlikely and unheard of in Victorian society. The way in wich Heathcliff fights the odds and rises above his social ranking of his birth, becoming a man as a result of his own actions was very unconventional to Victorian scoiety. Bronte makes it obvious that Heathcliff would not be accepted by his society from the very beginning by describing him as a, “dirty, ragged, black-haired ... gipsy brat" (Bronte 2005, pp. 30). The fact that Heathcliff did not belong to the same social class as that of his adopted family, predestines his life as a hard one filled with injustices. From the beginning, Heathcliff defines himself as a gentleman in his actions, as Mr. Lockwood later describes him, “He is a dark-skinned gipsy, 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 under-bred pride” (Bronte 2005, pp. 3). The reader is forced into an internal battle as they question whether or not someone should remain in the same class that they are born into, or fight to better their social standing. The idea that Heathcliff became a gentleman through his education, was a new way of thinking at the time. The fact that a good education could change ones social standing and wealth, was a very new and modern occurrence. “Victorians were of the understanding that one does not change ones lot in life, because that was the way in which God created them” (Graeme 2007, pp. 26), and was therefore the way in which they deemed that one was to live their life. Society believed that ones social standing defined who they were as an individual person and defined how they were to act and what they could and could not do. Heathcliffs outright defiance of these rules make his character one that is experimental because the way in which he lives his life is unexpected and in many ways unaccepted by most members of Victorian society. Nelly Dean’s narrative, though different from that of Lockwoods, still allows room for the reader to see a different side of the story and to form their own thoughts . Unlike Lockwood, she not only represents another voice for the narration of the story, but also incorporates her own thoughts and ideas in the hopes of shaping opinions and influencing the minds of the reader. “Nelly tells the story as a naive romantic, lacking any modern thought and maintaining ideals of her society” ((Graeme 2007, pp. 26). Just like Heathcliff, Nelly has also seen her fair share of trials and hardships throughout her life. She describes herself as a “steady and reasonable kind of body,” (Bronte 2005, pp. 52) and represents to the reader the type of life that Heathcliff was once meant to live had he not taken an active role in changing his circumstances. At the event of Catherines death, Heathcliff stands as a symbol of Bronte;s own thoughts on society and the ideals that it upheld. She shows that a desire for a better life should be achieved, and to be free from the detrimental side effects of an unaccepting society. He embodies the Victorian ideal of a successful, well educated, wealthy man, but also holds roots in the peasant class. It is almost as if Bronte wants her reader to understand that even though Heathcliff embodies two completely different worlds he is one and the same person. In Heathcliff, the traditional beliefs and morals of society are challenged as the lines between peasant and noble are blurred. Throughout the novel, Bronte creates in the reader a sense of instability that causes them to truly feel for, and feel bonded to the characters. This instability helps the reader to better understand the questions and ideas of the story and apply them to their own experiences. Pulling the reader from one side of the story to the next, causes the reader to take on all sides of the issues, and to come to their own personal conclusions, and thoughts on the matter. Even the individual narrators jump from one opposing thought to another. For example Heathcliff argues, “ Im animated with hunger, and seemingly I must not eat” ( Bronte 2005, pp. 278). This statement proves Heathcliffs hunger for revenge and at the same time it shows his unwillingness to achieve it. He seems to stand as a contradiction of himself as the reader is left on their own to decide what the appropriate move would be for him to make. Heathcliff represents what Bronte believes to be the epitome of the modern man. He represents a man who has taken full control of his existence and defies his birth rising to nobility. The tale of a young mans rise to position and honor in society though born into the life of a peasant, along with the experimental story telling through different narrators and time, makes Wuthering Heights a modern novel unlike others of its time. Bronte succeeded in expressing her beliefs in a way that made them understandable and relevant to readers from all positions of society. Taking on the old and accustomed ideals of Victorian society, Wuthering Heights can be regarded as the first truly modern love story. Works Cited 1. Bronte, Emily. Wuthering Heights. Barnes and Noble Classic Series. April 2005. 2. Christopher, Tyler. "Nelly, I am Heathcliff: The Problem of Identification in Wuthering Heights”. 2006, Vol. 47 Issue 2. 3. Cory, Abbie. “Out of My Brother’s Power: Gender Class and Rebellion in Wuthering Heights”. Womens Studies. 2005, Vol. 34 Issue 2. 4. Crouse, Jaime. “This Shattered Prison: Confinement, Control And Gender in Wuthering Heights. Brontë Studies. 2008, Vol. 33. 5. Enscoe, Max. “Wuthering Heights”. Literary Cavalcade. 2003, Vol. 56 Issue 6. Graeme. Tyler. “ The Role of Religion in Wuthering Heights. “ Brontë Studies. 2007, Vol. 32 Issue 3. 7. London, Bette. “Wuthering Heights and the Text Between the Lines”. Studies in the Novel. 2000, Vol. 32, Issue 4. 8. McCarthy, Terrence. “The Incomplete Narration of Wuthering Heights”. Modern Language Quarterly. 1981, Vol. 42 Issue 1. 9. Oda, Yukari. “Wuthering Heights and the Waverley Novels: Sir Walter Scotts Influence on Emily Brontë.” Brontë Studies. 2007, Vol. 32 Issue 3. 10. Phillips, James. “The Two Faces of Love in Wuthering Heights” Bronte Studies. 2007, Vol. 32 Issue 2. This article pertains to the paper because it reveals a new way in which Bronte chose to write her novel and proves the experimental qualities she employs. It discusses Catherine’s struggle with the love of two men and how she neglects to differentiate between empirical and transcendental love. Phillips, the author of the article, reveals how Bronte uses this difference to show the reader that Catherine may be more in love with the object of love than love itself. This was a different way of writing a love story, and was experimental at the time because it was much more realistic and brought up questions and issues that other Romantic novels did not. Read More