Wuthering Heights Character Profile - 1602 Words

Mykael K. Garrison Mrs.Daigle Pre-AP English 1 03 October 2017 Independent Novel Project: Wuthering Heights: Emily Brontà « In the winter of 1801, our main character or the protagonist of this story, Lockwood, shows up at Wuthering Heights to make arrangements with Heathcliff who is another dominant character in this story, to rent the nearby manor. Heathcliff, the landlord, makes no effort to be pleasant and immediately becomes a source of deep curiosity to Lockwood. A snowstorm forces Lockwood to spend the night at Wuthering Heights, and he has crazy nightmares complete with a wailing ghost named Catherine Linton trying to come through the window. So, now that Lockwood is settled into his new house, he invites the housekeeper, Ellen†¦show more content†¦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 during childhood), the moorland transfers its symbolic associations onto the love affair. Then the Ghosts appear throughout Wuthering Heights, as they do in most other works of Gothic fiction, yet Brontà « 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 dismissed as unverified superstition. Whether or not the ghosts are â€Å"real,† they symbolize the manifestation of the past within the present, and the way memory stays with people, permeating their day-to-d ay lives. Wuthering Heights is a romance, since the two lovers spend so much time making each other miserable. Still, we know Catherine and Heathcliff experience some sortShow MoreRelated Characters of Catherine and Heathcliff in Emily Brontes Wuthering Heights1610 Words   |  7 PagesThe Characters of Catherine and Heathcliff in Wuthering Heights      Ã‚  Ã‚   Emily Brontes Wuthering Heights can be considered a Gothic romance or an essay on the human relationship. The reader may regard the novel as a serious study of human problems such as love and hate, or revenge and jealousy. One may even consider the novel Brontes personal interpretation of the universe. However, when all is said and done, Heathcliff and Catherine are the story. Their powerful presence permeates throughoutRead MoreWuthering Heights By Emily Bronte1337 Words   |  6 PagesWuthering Heights Essay Edgar Linton is a character in the novel Wuthering Heights by Emily Brontà «. From early life to death, he resides at the cultivated Thrushcross Grange with his family. He becomes entangled with the affairs of the Earnshaws and eventually a target of Heathcliff. His spoiled and comfortable childhood allows his cowardice to continue to adulthood, proving him an ineffective character whose passiveness warrants Heathcliff’s vengeance. As an adolescent, Edgar displays tracesRead MoreVictorian Novel9605 Words   |  39 Pagesliving. Artists of ‘Pre- Raphaelite Brotherhood’ claimed to write only true about nature, concentrate only on the true ideas. These three years saw the rise of such works: of Bronte sisters’ Poems, Charlotte Bronte’s Jane Eyre, Emily Bronte’s Wuthering Heights, William Thackeray’s Vanity Fair. The Following twenty years could be seen as the high period of ‘Victorian novel’. Despite being a mixture of boom and slump, the years of 1850-1870 were recognized by the economic growth. The nation was the richestRead MoreThe Studio System Essay14396 Words   |  58 Pagesindividuals. With this in mind, it is fair to say that the art director has more influence on a given film than nearly anyone else who works on the project. This was especially true in the 1930s when the Hollywood Studio system was at the height of its power. The way that credit was given for art direction makes it difficult to judge the work of the individuals who did the actual set design and visual design of the films of the thirties. In looking at art direction in