2023 届本科生学士学位论文 学校代码：10269

呼啸山庄一部哥特小说

Wuthering Heights as a Gothic Novel

姓 名： Bernard Romario Mendoza Pinera 罗米

学 号： 12194401415

学 院： 外语学院

专 业： 英语（国际学生方向）

指导教师：廖炜春

职 称： Professor

2023 年 2 月
 毕业论文 Wuthering Heights as a Gothic novel

华东师范大学学位论文诚信承诺
本毕业论文是本人在导师指导下独立完成的，内容真实、可靠。本人在撰写毕业

论文过程中不存在请人代写、抄袭或者剽窃他人作品、伪造或者篡改数据以及其他学

位论文作假行为。

本人清楚知道学位论文作假行为将会导致行为人受到不授予/撤销学位、开除学籍

等处理（处分）决定。本人如果被查证在撰写本毕业论文过程中存在学位论文作假行

为，愿意接受学校依法作出的处理（处分）决定。

承诺人签名： 日期： 年 月 日

华东师范大学学位论文使用授权说明
本论文的研究成果归华东师范大学所有，本论文的研究内容不得以其它单位的名

义发表。本学位论文作者和指导教师完全了解华东师范大学有关保留、使用学位论文

的规定，即：学校有权保留并向国家有关部门或机构送交论文的复印件和电子版，允

许论文被查阅和借阅；本人授权华东师范大学可以将论文的全部或部分内容编入有关

数据库进行检索、交流，可以采用影印、缩印或其他复制手段保存论文和汇编本学位

论文。

保密的毕业论文（设计）在解密后应遵守此规定。

作者签名： 导师签名： 日期： 年 月 日

2
 毕业论文 Wuthering Heights as a Gothic novel

Table of Contents
ACKNOWLEDGMENTS .....................................................................................................................................4
ABSTRACT ............................................................................................................................................................5
摘要 ..........................................................................................................................................................................6
1. INTRODUCTION ..............................................................................................................................................7
1.1 WUTHERING HEIGHTS...............................................................................................................................7
1.2 LITERATURE REVIEW................................................................................................................................9
1.3.1 SCENE SETTING.......................................................................................................................................12
1.3.2 GOTHIC ROMANCE ................................................................................................................................14
1.3.3 FEMALE CHARACTERS IN GOTHIC FICTION ................................................................................16
2. SCENE SETTING IN WUTHERING HEIGHTS..........................................................................................18
2.1 WEATHER .....................................................................................................................................................19
2.2 AN ISOLATED HOUSE AND ENVIRONMENT. .....................................................................................21
2.3 SUPERNATURAL INFLUENCE: GHOST, OMENS AND VISIONS. ...................................................23
3. GOTHIC ROMANCE AND FEMALE CHARACTERS IN WUTHERING HEIGHTS. ........................25
3.1.1 CATHERINE AND HEATHCLIFF’S ROMANCE ................................................................................27
3.1.1 CATHERINE EARNSHAW AS A GOTHIC HEROINE.......................................................................29
3.2 CATHERINE EARNSHAW’S ORDEAL ...................................................................................................31
4. NARRATIVE STRUCTURE OF GOTHIC FICTION. ...............................................................................32
4.1 THE INNOVATIVE NARRATIVE IN WUTHERING HEIGHTS .........................................................32
5. CONCLUSIONS. ...........................................................................................................................................35
BIBLIOGRAPHY ................................................................................................................................................36

3
 毕业论文 Wuthering Heights as a Gothic novel

Acknowledgments

First and foremost, I would like to thank my supervisor 廖炜春 for her pantience, help and insight.
Without her guidance, I wouldn’t have been able to write this research. It was thanks to her class that I
grew fond of Wuthering Heights. In addition, I would like to thank my classmates and friends for their
assistance and inspiration during the time I spent writing my thesis. Then, I'd like to thank my mom for her
concern, patience and support during these stressful periods of research, as well as for rooting for me even
when I didn’t believe in myself.

Lastly, I thank the university where I have and studied for the past four years. And I hope this is not a
farewell but just another beginning.

4
 毕业论文 Wuthering Heights as a Gothic novel

Abstract

Gothic fiction, also known as Gothic horror, is a large literary genre that is full of fear, ghosts, and
romance. It gets its name from the Gothic architecture of the European Middle Ages, which is where many
Gothic novels are set. The supernatural, dark situations, and creepy settings of Gothic novels create a world
that draws readers in and makes them want to keep reading. There are also a lot of authors and works that
stand out in Gothic fiction, and Emily Brontë and her book Wuthering Heights is one of those. Thus, the
purpose of this paper is to do a thorough analysis of how Wuthering Heights has all the right parts of a Gothic
novel. From the story's murky and exciting plot to the complex ordeals that the main character, Catherine
Earnshaw, has to go through, this book has it all.

Keywords: Wuthering Heights, Gothic fiction, Catherine Earnshaw.

5
 毕业论文 Wuthering Heights as a Gothic novel

摘要

哥特小说，又称哥特式恐怖小说，是一种充满恐惧、鬼怪和浪漫色彩的大型文学体裁。 因欧
洲中世纪的哥特式建筑而得名，许多哥特小说的取景地就在这里。 哥特小说的超自然、黑暗情境
和令人毛骨悚然的场景创造了一个吸引读者并让他们想继续阅读的世界。 哥特小说中也有很多作
家和作品脱颖而出，艾米莉·勃朗特和她的《呼啸山庄》就是其中之一。 因此，本文的目的是彻底
分析《呼啸山庄》如何拥有一部哥特小说的所有正确部分。 从故事阴暗而激动人心的情节到主角
凯瑟琳恩萧必须经历的复杂磨难，本书应有尽有。

关键词：《呼啸山庄》，哥特式小说，凯瑟琳·恩肖。

6
 毕业论文 Wuthering Heights as a Gothic novel

1. Introduction
1.1 Wuthering Heights

Gothic fiction is a genre that emerged in the 18th century and has successfully engaged readers'
imaginations with stories of supernatural horrors and forbidden romances. Like The Castle of Otranto,
Frankenstain, Jane Eyre. Among them is Emily Brontë’s classic novel Wuthering Heights, written in 1847.
This masterpiece has been known as one of the greatest and most cherished novels in the Gothic genre.
Portrayed by its dark and complex characters, mysterious incidents, and gloomy atmosphere, this work has
received an astronomical number of publications, analyses, and adaptations worldwide. Wuthering Heights
distinguishes itself from other Gothic novels from the start with an outrageous setting and a cast of
unforgettable characters.

A grim romance between the novel's two main characters, the ominous Heathcliff and the unwavering
Catherine, burns like a fire in the novel's heart. Their forbidden love spreads like a generational curse,
affecting the families around them. Unfolding one tragedy after the other and one death following the other,
the author effectively provides the readers with an emotionally powerful ambiance that has never failed to
lure them. Despite the many criticisms received throughout the years, Wuthering Heights has remained one
of the best British novels, as mentioned by (Watson, 1949) The purpose of this thesis is to serve as an analysis
of how Wuthering Heights represents a well-written Gothic novel.

Emily Brontë was the fifth of six children born to Patrick Brontë, who was born in Ireland and worked
as a priest in the small Yorkshire town of Haworth. After their mother Maria died when Emily was three,
their father gave them an exciting and broad liberal and academic education. Their aunt, Elizabeth Branwell,
taught them a lot about order, method, and neatness at home. The aspects of place, character, and story in
Wuthering Heights are all tied together by dialectic motifs. The novel's significance can be best understood
by focusing on these recurring themes. While Kermode (1975) rightly points out that Wuthering Heights is
a "classic" because it can be analyzed using a wide variety of critical lenses and is amenable to many readings,
it's important to remember that the novel's themes and characters emerge from a consistent creative vision.
That sight shows how flawed and restricted the human senses really are. Emily Brontë's story is best
understood by focusing on the fundamental patterns underpinning this worldview. Emily Brontë’s dark and
romantic masterpiece of a classic novel was published in 1847 under the author’s pen name, Ellis Bell.
Wuthering Heights tells the story of its protagonists, Catherine Earnshaw and Heathcliff, as they experience
fate, love, and misfortunes within the Yorkshire Moors of England. The story is alternately narrated by two
characters: Nelly Dean and Lockwood.

Catherine Earnshaw and Heathcliff are the focus of the story. The novel has a complicated plot that
centers on the conflict that arises between two wealthy families named the Earnshaws and the Lintons. In
addition, the storyline is dense with recurring ideas and concepts, such as the supernatural, the significance

7
 毕业论文 Wuthering Heights as a Gothic novel

of a person’s social standing in the 18th century, revenge, obsession, love, and abandonment. The novel goes
deep into the disastrous results that result from the tumultuous relationships between the characters. As
demonstrated by (Vine, 1994), the novel tragic novel of ambiguity unfolds with misfortunes flowering one
after the other amidst an atmospheric upheaval of stormy weather and odd happenings.

A tragic story is told in Wuthering Heights. Several critics have argued that the novel was written
without any intention of conforming to a particular literary style or genre. This is an argument that has
received much attention. However, Brontë was able to surprise and shock readers with her depiction of
violence and tragedy, as well as the recurring theme of entrapment, which reflects her beliefs on societal
injustices and oppression.

8
 毕业论文 Wuthering Heights as a Gothic novel

1.2 Literature Review

There are numerous studies and research about Wuthering Heights and its influence on Gothic fiction
today. Wuthering Heights is considered a classic novel of English literature and its themes of love, revenge,
and supernatural elements continue to inspire contemporary Gothic writers. Its impact on popular culture
can be seen in numerous adaptations in film, television, and theater. According to Vine (1994), Wuthering
Heights introduces "wuthering" into the psychological, intellectual, and social stability of the world it depicts.
From the whining of the other to the disruptive and conflictual motions of alterity written on it, the novel
presents a safe sense of self. Vine (1994), also discusses how the novel dramatizes the borders of social and
sexual identity in his research. In particular, he demonstrates how self-identification is generated through
conflict and how the unfamiliar can inhabit the unknown. To emphasize the plot, Heathcliff, the primary
male character of the novel, is an orphan who is taken in, adopted into the Earnshaw household, and raised
there. And it has been crystal clear since the beginning of the story that he and the youngest daughter of the
family, Catherine, share a connection that cannot be explained.

“He is more myself than I am. Whatever our souls are made of, his and mine are the same.”—says
Catherine Earnshaw in Wuthering Heights (Chapter 2)

The story unfolds more when Catherine marries Edgar Linton. She was adamantly opposed to marriage;
however, she was ultimately disregarded when she tied the knot with her courteous neighbor, Edgar Linton.
Soon after marrying, they moved to Thrushcross Grange as a new family. After a brief moment of happiness,
everything in their lives is turned upside down when Heathcliff reappears with a new fortune and the
determination to wreak revenge on those, he believes are responsible for the suffering he has endured. As
Hafley (1958) shows, Heathcliff is an agent of disruption throughout the narrative. The portrayal of
vengeance in the novel is seen through him, in the continuous psychological and physical anguish he inflicts
on those close to him. It is this malice that ultimately results in this character’s demise. As the plot develops,
Wuthering Heights is turned into a house of horrors, where dreadful feelings and nefarious deeds drive each
character away from everyday life. It is a story that is fraught with wrath and utter destruction. Wuthering
Heights is a tale of uncivilized love and loathing that ultimately consumes both Catherine and Heathcliff.
According Varghese, L. M, (2012). Brontë gives her readers a deep insight into her peculiar world with this
magnificent illustration of intense feelings and pain. In a certain sense, Wuthering Heights has been able to
withstand the passage of time, and it is now regarded as a timeless classic whose influence goes beyond the
realm of literature. It also serves as an illuminating reminder of what passion can achieve Varghese, L. M,
(2012).
9
 毕业论文 Wuthering Heights as a Gothic novel

1.3 Gothic Fiction: Characteristics

In the broadest sense, Gothic literature is any work that intentionally creates an atmosphere of
exoticism, mystery, horror, and dread via melodramatic narrative tactics and other similar techniques. In
many instances, the primary setting of a Gothic novel or story is an enormous, old mansion that either
harbors some dreadful secrets or provides sanctuary to a particularly terrifying and deadly figure, according
to Kennedy, Patrick, (2021). Despite the widespread usage of this gloomy pattern, Gothic authors have
spiced up their stories with supernatural occurrences, romantic touches, famous historical figures, exciting
travels, and electrifying adventures. Much contemporary fiction can be traced back to this sub-genre of
Romantic literature.

Gothic literature emerged in the 18th century, during the Romantic Period, (Kennedy, Patrick, 2021).
The term "Gothic" was first used in a literary context in the subtitle of Horace Walpole's "The Castle of
Otranto: A Gothic Story," published in 1765. The subtitle reads, "When he employed the word, it signified
something like "barbarous" as well as "deriving from the Middle Ages. The story in the book appears to
be ancient, but it was only recently discovered. However, this is only a fragment of the whole story.
However, paranormal elements in the story sparked a new literary trend in Europe.

Then, in the middle of the 1800s, American author Edgar Allan Poe took over and ran with it, and
he was a great success. He discovered a safe space for writing about mental illness, terrible people, and
traumatic experiences in Gothic literature. The Gothic genre may have had other great authors before
and after him, but they all came close to Poe in terms of mastering the style. Other authors, in addition
to Walpole, played essential roles in establishing the Gothic style, such as Ann Radcliffe and her novel
The Mysteries of Udolpho, which cemented Radcliffe's reputation as one of the genre's foremost writers.
In her work, Radcliffe established many of the hallmarks of the Gothic form, such as atmospheric
settings, mysterious circumstances, and palpable tension, which remain the cornerstones of modern
works in the genre. Additionally, The Monk by Matthew Lewis established itself as a keystone of the
genre, paving the way for Gothic works for centuries to come. Unlike many other authors of his time,
Lewi’s work diverged from the standard conventions of his day in terms of themes and narrative
structure. Lewis often used suspense, grotesque descriptions, and other frightening elements to create
an unforgettable tale of terror.

Once again, significant in the canon of Gothic literature is Edgar Allan Poe. His works frequently
dealt with themes of mortality and dying. Poe used fantastical characters and plots full of terror and
suspense to achieve this effect in his writings. His works were extensively read and admired during his
lifetime, and they continue to be studied now. Many of the literary tropes and techniques associated
with Gothic literature may be traced back to Poe. Modern zombie, detective, and Stephen King novels
owe something to Poe.

10
 毕业论文 Wuthering Heights as a Gothic novel

Among the best-known Gothic novelists are the Brontë sisters. Wuthering Heights and Jane Eyre
are Charlotte and Emily Brontë's best-known works. The moral and sexual topics they explored in their
fiction were revolutionary for their period. They explored macabre themes and unbalanced protagonists
in order to comment on human nature via their writings, which often included otherworldly aspects,
similar to what Van Tassel-Baska J. (1999) explains. Last but not least, Mary Shelley is often cited
among the authors mentioned earlier as another prominent figure in the Gothic literature canon. Her
most famous book, Frankenstein, is widely regarded as a seminal piece of Gothic literature. Shelley
investigates concepts like humanity and authority in this piece. In her novel Frankenstein, Mary Shelley
portrayed the fallout of human invention and ambition in the search for knowledge, calling into question
the boundaries of the human condition.

Last but no least the Gothic sub-genre will never be the same, thanks to Shelley's daring and unique
moral experiments. Madness and depression are also essential aspects of Gothic fiction and are well
represented in Wuthering Heights. Senf, C. A. (2016) presented how the younger characters in the novel
suffer from mental instability. For example, Heathcliff and Isabella’s son, Linton, succumbs to his
father's oppressive control, as does Hareton Earnshaw, who is physically strong but gives in to
Heathcliff’s manipulation and exploitation. Consequently, the elder characters have significantly
influenced the younger ones, causing a vicious cycle of bad habits and harmful connections. Love
turned hatred, physical and psychological violence as the corrosive influence of unstable minds are
vividly depicted in the novel. In conclusion, these are the core elements of Gothic literature, in the next
chapter more will be explained about the topic.

11
 毕业论文 Wuthering Heights as a Gothic novel

1.3.1 Scene setting

The art of scene setting in Gothic literature has long been the topic of critical discussion and
analysis. This part will claim that Gothic literature's atmosphere, themes, and suspense are greatly
enhanced by the author's skillful use of setting. The fundamental component of Gothic fiction is the
horror it creates, which depends heavily on the atmosphere and the supernatural to create a feeling of
dread and foreboding. Novak (1979), has talked about this in his book Gothic and the Grotesque. He
says that the setting of a horror story is typically a significant factor in creating an ominous and
suspenseful mood through specific details and supernatural elements and standard Gothic themes like
forbidden knowledge, cursed fate, and dire repercussions.

These things create a scary setting that draws the reader in and makes them more worried as they
read. Furthermore, the scene's setting can reveal character motivations and behaviors, which might alter
the story's development. It generally foreshadows the story's bleak ending by showing the characters'
motivations, core ambitions, and defining traits. By outlining the challenges that stand in the way of the
protagonists' achievement and the outcomes of their choices, a successful setting may deepen the
characters' relationships with the world and influence their destinies.

Mighall (2003) says that Gothic books are known for their detailed descriptions of their settings,
which are meant to immerse the reader in a weird and exhilarating world of adventure and dread. The
ability to create an atmosphere and portray a picture of the weird worlds the protagonists inhabit is a
crucial literary tool in Gothic fiction. This chapter will examine how authors utilize setting to advance
the plot, develop the characters, and draw the reader into an otherworldly experience by focusing on
sensory details, psychological impacts, and aesthetic features of the scene setting. In a Gothic novel,
the reader's ability to imagine the characters and their surroundings is greatly enhanced by the author's
careful attention to the setting's physical elements. Typical settings for Gothic fiction include forbidding
enclaves like crumbling castles and dungeons or remote islands where the protagonists have complete
freedom to act.

For instance, Dracula depicts desolate landscapes and the castles of Transylvania and Carpathia
with their old architectures and worn furnishings. These characteristics not only create an ominous
setting full of peril and dread, but they also hint at a lengthy and sometimes evil past, which draws
the reader deeper into the story's shadows. The setting's psychological impacts add to the story and
heighten the tension. All too often, characters are taken out of their comfort zones and put in
emotionally and mentally taxing circumstances.

In Mary Shelley's Frankenstein, for example, the protagonist, Victor Frankenstein, is marooned on
a glacier and suffers greatly from isolation and a fear of being exposed. Creating situations with
suffocating atmospheres prompts viewers to reflect on the emotional toll taken by the characters.
12
 毕业论文 Wuthering Heights as a Gothic novel

Characters' vulnerability and desperation endear them to readers and make their struggles relatable.
From a stylistic perspective, establishing a scene helps writers create a more vivid and emotive
atmosphere.

Gothic fiction is known for its vivid descriptions and tense conversations, which draw the reader
further into the story. In particular, the characters' frequent use of histrionic yet scholarly tones in
conversation creates an intriguing air of mystery. Gothic fiction, like H.P. Lovecraft's The Outsider,
is known for the use of flowery writing and alliterative lines. For example: "Treading the twisted
primeval world of my nightmares, I soon discovered the older pariahs again." In many sections, the
author's words nearly become the scenario itself, drawing the reader in and making them want to
know every aspect of the eerie and captivating story. Overall, the location is crucial to the success of
a Gothic tale, heightening the reader's immersion and taking them to a more sinister place. Authors
can bring the Gothic world to life with physical details, psychological effects, and aesthetic elements.
These things move the plot forward, give readers a deeper look at the characters, and pull them into
a strange, otherworldly adventure. With this in mind, the next chapter will study more in dept another
key characteristic of Gothic fiction.

13
 毕业论文 Wuthering Heights as a Gothic novel

1.3.2 Gothic romance

Gothic romances are known for their dark, mysterious, and often depressing themes, which have
attracted readers for years. Authors have used the tropes and motifs of Gothic fiction to delve into
family, fate, death, self-discovery, and social unrest. This part will examine the evolution of Gothic
romance from its origins in the late 18th and early 19th centuries to its modern iterations, focusing on
how the genre has depicted these themes.

For a Gothic romance to succeed, the author must be able to transport the reader to the setting. The
plot should be exciting and thrilling, with some mystery elements, while putting a premium on the love
elements. The essence of Gothic romance is examining what it means to exist in a bleak and terrifying
environment. It encompasses not just supernatural beings but also more nuanced concepts like social
status and personal identification.

Readers of Gothic romance are forced to tackle complex issues and learn to cope with a world full
of danger and the unknown. In stories with an anti-hero, the protagonist is often forced to make tough
choices. For the most part, the success of a Gothic romance hinges on the characters that populate it.
Many characters have serious flaws or are dark and moody, with secrets or special abilities from their
pasts. The protagonist's battle for survival in the face of supernatural and mundane enemies is typically
at the heart of these stories.

The main characters in those Gothic works, from Count Dracula to Victor Frankenstein, are well-
developed and likable enough to make readers root for them to succeed. The characters make it simpler
for readers to empathize with the plot and grasp the stakes by reflecting on their own experiences and
worries. Most protagonists' journeys into the unknown end with a revelation of some kind, a realization
that they are stronger and more capable than they ever imagined they might be. It is worth remarking
that a Gothic romance novel might have several layers to its structure and form Toscano, A. (2020).
One level is the classic love story of doomed protagonists and tragic heroines. However, this reveals
itself within a bigger story in which other secrets are also revealed.

Readers are drawn into the story and encouraged to ruminate on the moral quandaries faced by the
protagonists because of the author's use of complex and deep topics. Another example of a well-written
Gothic romance is Jane Eyre by Charlotte Brontë. Jane Eyre's love affair with Edward Fairfax Rochester is
a crucial plot point of the book. She first dislikes him for being rude and heartless, but they have much in
common. Rochester compels Jane to leave him as he tries to marry her off in a bigamous union. Though
Rochester gives in to his wife, Jane emerges as a self-sufficient heiress. The dynamics of their relationship
take a turn when they are finally reunited. To be happy, Jane must accept Rochester as her master, and
Rochester must come to rely on Jane.

14
 毕业论文 Wuthering Heights as a Gothic novel

Many romantic novels take inspiration from Jane Eyre and Edward Rochester's narratives. There
is a happy ending when the two lovers are reunited, but they must go through some difficulties first.
Two people who select each other out of the goodness of their hearts create the most authentic of
relationships. They have decided to spend their lives together because they genuinely care about one
another rather than because of material considerations, social standing, or even passion alone. However,
Jane Eyre and Edward Rochester's social and economic origins are poles apart. The two parties also
have a wide gap in age and goals.

At last, Wuthering Heights, by Emily Brontë, depicts Heathcliff and Catherine, a young couple, as
they deal with issues of love and social status that threaten to destroy their relationship. The work sheds
light on the intricacies of the Gothic genre by bringing these topics to the fore Vine (1994). Social status
played a significant role in Gothic romance. In Emily Brontë's classic novel Wuthering Heights, two
themes are intertwined: romance and social status. This tragic story follows the tumultuous romance of
two passionate yet contrasting figures: Heathcliff and Catherine Earnshaw. Even though she is a young
and impressionable girl from a low social class, Catherine rejects Heathcliff and marries the wealthy
but cold-hearted Edgar Linton. The social implications of this decision reverberate throughout the novel
as Heathcliff attempts to gain power over Edgar and the rest of the upper-class gentry in a passionate
but misguided display of love and devotion. Almeida (2011) explores how these two contrasting figures
challenge traditional social norms through the power of their passionate love for one another, ultimately
presenting a nuanced portrait of the complex relationship between social class and gender in Gothic
romance. Throughout the novel, Emily Brontë artfully conveys how different characters deal with
issues of social class, identity, and romantic love.

The narrative demonstrates how power structures are inextricably linked to social positioning.
Whether Heathcliff is denying the upper-class Lintons' entry to Wuthering Heights, exacting his
revenge through Hareton, or manipulating social conventions, he attempts to use his newly gained
financial and social power as a means to an end: achieving an all-encompassing form of revenge over
the social injustices of the time. At the same time, Catherine’s marriage to Edgar illustrates how societal
pressures can manipulate even the most powerful of romances. Through these vivid portrayals of love
and power, Emily Brontë powerfully reveals the ways in which power and status often dictate romantic
choices and social success.

15
 毕业论文 Wuthering Heights as a Gothic novel

1.3.3 Female characters in Gothic fiction

Female characters have always been a distinguishing feature of Gothic fiction, although their
portrayal has evolved dramatically throughout time. Female characters have come to be regarded as
both agents of the Gothic story and bearers of feminist themes, ranging from Caroline in Matthew
Lewis's The Monk, who is portrayed as a naive and helpless victim, to Jane Eyre in Charlotte Bronte's
novel, who exhibits strength and resilience. Throughout the Gothic revival, women's roles have been
an essential part of the story, which has looked at issues like freedom, independence, and justice.
Gothic literature frequently adheres to romantic conceptions of the period, depicting female
characters as idealized figures in peril and as fragile victims, despite the fact that they are generally
endowed with magnificent inner powers that help them to escape their destiny eventually. On the
other hand, female figures had come to symbolize fortitude, resolve, and agency in the face of
overwhelming circumstances by the time of the Gothic Revival period. Such is the protagonist in
Emily Brontë’s Wuthering Heights, who bravely confronts the period's harsh patriarchal culture and
forges her own path of autonomy. The portrayal of female characters in Gothic fiction may also be
understood as a reaction to women's lack of independence in real life. The realization that a girl with
self-determination had no place in the patriarchal world was a facet of Gothic literature that was
especially relevant to 19th-century readers.
As a result, female characters became icons of an idealistic and utopian view of women,
transcending social constraints to hold their own and live an independent existence. Charlotte Bronte's
Jane Eyre is the most notable example of such an empowered female heroine. Jane continuously
breaks free from expectations and constraints throughout her fight, finally achieving genuine freedom.
This concept of feminine power as mysterious and occult was carried over into subsequent Gothic
fiction, such as Bram Stoker's Dracula.
Female characters like Mina Harker, and Lucy Westenra have agency and the ability to exert it
throughout the novel, implying that feminine power does not have to be constrained by social
standards. They provide readers with a sense of the complexity of women's status in the world at the
time by representing various ideals of female authority. Finally, Gothic fiction of all eras provides an
intriguing critique of how women have been treated throughout literature. As women are inherently
fascinating, it should come as no surprise that feminism and the Gothic genre share a special
connection and a distinctive portrayal of women. According to Almeida (2011), Gothic works by
women authors that feature female protagonists and explore themes of gender, sexuality, and the body
are often grouped under the umbrella term "female Gothic."

Hoeveler (2010) explores the rise of the female Gothic and how societal conditions influenced it in her
book Gothic Feminism. "Women now had the opportunity to express themselves in widely disseminated
and cheaply printed novels and dramas that became immensely popular with the new reading
audience—largely middle-class women enclosed in the newly created and bourgeois home," according
16
 毕业论文 Wuthering Heights as a Gothic novel

to a historian of the early 1800s. The female Gothic's strangely new depictions of women and the home
rearranged the social hierarchy. Many of the novels' protagonists achieve their goals by feigning or
acting weak.
Women in female Gothic literature subtly undermined the patriarchal structure while outwardly
conforming to society's expectations and performing their designated roles as daughters, wives, and
mothers. Typically, the heroines of Gothic literature were portrayed as naive, compliant, and blameless.
This sort of heroine is intriguing because she displays a subversive ambition that causes her to go against
the norms of her society in order to achieve her goals. Readers can explore the depiction of female
characters, ranging from victimization to freedom and autonomy, via various stories and female
protagonists. It is an entire genre for debating and dissecting how far gender equality has progressed
over time and how much more needs to be done to achieve justice. Moreover, without all the
aforementioned elements combined, Gothic fiction would not be as exquisite as it is.

17
 毕业论文 Wuthering Heights as a Gothic novel

2. Scene setting in Wuthering Heights

As previously stated, the setting of Wuthering Heights is one of startling yet everlasting beauty. The
geography of Wuthering Heights is a metaphor for the turbulent yet eternally interwoven relationships
of the novel’s primary characters, from the high moors of Yorkshire, Northern England, approximately
in 1750-1802, to the decaying building of the titular house itself. Emily paints the broad vision of the
moors as vast and endless, emphasizing the tenacity of the romantic bonds between the characters.
Despite their beauty, the Yorkshire moors can be dark and secluded, which relates to Heathcliff’s and
other characters' loneliness, as pride prevents them from bonding with one another. At the same time,
the moors' vastness reflects the unrelenting passion the protagonists feel in their respective relationships,
giving a backdrop for the turmoil of their hearts. In his research, Heywood, C, (1993) points out that
Emily apparently drew inspiration for her story’s setting from a Dales’ landscape she must have observed
on her way home from school, two months before her seventh birthday. Heywood, C, (1993) also said
that Brontë’s imaginary geography was most likely based on her memories of the Ingleborough area, as
seen from Thornton in Lonsdale.

In fact, Ingleborough’s hill exact analog appears in the novel in the form of the unusually high peak
named Wuthering Heights. The novel’s farmhouse is two miles north of the crossroads, the exact
location of the farmhouse Braida Garth in Kingsdale. According to Heywood, C, (1993) The Grange is
located two miles southwest of the fictitious corners of a road to Liverpool. The settlement of
Gimmerton, like Ingleton, is located a mile along the coaching road to London. Gimmerton is the closest
town and serves as the setting for characters like Mr. Kenneth, the doctor, and Mr. Green, the attorney.
With all this being stated, most of the novel takes action between the two domestic estates, Wuthering
Heights and Thrushcross Grange. Serving as the Linton’s residence, Thrushcross Grange contrasts
sharply with Wuthering Heights mansion. Not only the landscapes’ descriptions and atmospheres are
vastly different, but Thrushcross Grange is significant because it represents societal standards and class
differences along with Wuthering Heights, both illustrate cultural and economic disparities in 19th-
century England.

18
 毕业论文 Wuthering Heights as a Gothic novel

2.1 Weather

The ever-present influence of the weather its consequences on the characters and their circumstances
are crucial in Wuthering Heights. The severe weather functions as both a literal and figurative force,
creating the perfect storm of suspense, drama, and despair. As Lockwood depicts in the first chapter,
“wuthering” is a provincial adjective expressing the atmospheric tumult the house is exposed to in
stormy weather. And at the beginning of the story, the adverse weather conditions set the scene and
exemplify Heathcliff’s grim future (Vine, 1994).
As an orphan and servant, Heathcliff is a part of Wuthering Height’s social and economic structure.
The metaphorical image of coldness, as seen in the weather and mirrored in Heathcliff’s icy demeanor,
establishes a sad tone and portrays his identity crisis. As the narrative progresses, Heathcliff is
continually surrounded by harsh weather and equally turbulent emotions. Under a shroud of furious
winds, snow, and rain, he finds love, endures loss, and seek vengeance. These physical conditions
contribute to the narrative’s intensity as both external force and metaphor for Heathcliff’s dark impulses.
This stark contrast between interior and exterior aspects reflects Heathcliff’s situation and conveys the
predicament of a man who must deal with constant and unrelenting inner and outer turmoil. The turbulent
weather in Wuthering Heights is frequently represented as a conflict of order and disorder. Brontë depicts
a sharp contrast between these two moods and their opposite feelings by contrasting fair weather and
stormy weather.
When circumstances are chaotic and filled with stormy weather, despair and loneliness set in, as it is
present with Heathcliff. Yet in a more orderly, temperate weather, serenity, love, and acceptance are
attainable, which is perceived in Cathy and Hareton’s love story. Furthermore, the weather reflects the
characters' feelings. Brontë describes a strong wind, turbulent clouds, and an angry sea during passionate
scenes between Catherine and Heathcliff. This portrays Catherine’s intense love for Heathcliff and
exemplifies him as a character inspired by nature’s power. When the chilly winter arrives and Catherine
is forced to marry Edgar, the readers can see Catherine’s weakness as a metaphor for her seclusion
without Heathcliff, while the latter is filled with a passion that burns hotter than summer fires. Another
example of this is in (Chapter 9) there is a violent storm on the night that Heathcliff leaves. Catherine,
overcome by grief and shame, refused to come inside from the pouring rain. The screaming winds of the
thunderstorm split a nearby tree in half, startling Nelly and Joseph. Then, Nelly wondered if Joseph was
right about the storm being a harbinger of the end. It is worth noting that, despite the power of its effects,
the weather in Wuthering Heights is utterly unrelated to natural and physical laws.
Brontë employs it to create a world far from reality and demonstrate how strong and emotional force
can override all rational sense. This symbolic language makes it a powerful and emotive instrument.
Overall, the weather in Wuthering Heights serves as a foil for the characters and offers insight into the
plot. Through the use of atmosphere and symbolism, the author adds emotional depth to the text and
enhances its capacity to tell an impactful story. Brontë skillfully provides readers with a grasp of her

19
 毕业论文 Wuthering Heights as a Gothic novel

characters without stating it overtly, and her innovative use of weather is a fantastic illustration of how
a creative output may be used to portray the underlying spirit of a narrative effectively.

20
 毕业论文 Wuthering Heights as a Gothic novel

2.2 An isolated house and environment.

The theme of isolation is significant to the plot of Brontë’s novel, and it is represented in its
housing setting. The mansion in Wuthering Heights is a literary landmark; it is the novel's focal point
and has captivated readers since its publication. The symbolic significance of Wuthering Heights and
its influence on the character will be discussed in this part.
Rivaled to its counterpart, Thrushcross Grange, in Wuthering Heights mansion, there is unrequited
love and violence, an emotion that is heightened and sparked by the dark and ominous features of the
Heights. It is proved that Wuthering Heights is a character in and of itself rather than just a building. Its
Gothic characteristics mirror its brooding temperament, with the dark stone and looming roof
representing Heathcliff’s heavy heart and desires, while gardens represent Catherine’s freedom and
strong will. Furthermore, the mansion serves a background for the protagonists’ psychological war,
stressing the class tension that shape their identities. Wuthering Heights is a classic Gothic building
with eerie, lofty windows, an asymmetrical shape and a foreboding entrance. These characteristics
emphasize the intimidating nature of the house. It is not merely a setting, but a driving force in the story,
imbuing the characters with a sense of ominous that follows them wherever they go.
It has been stated by Vine (1994) that the structure resembles a living monster, complete with
windows that mimic teeth and the irregular contours of a grotesque face. Brontë sets the mood for a
tragic play by utilizing the structure to depict the psychological suffering of the protagonists. In addition,
the garden of Wuthering Heights reflects Catherine’s untamed and independent nature, yet the sense of
isolation she experiences. Its natural beauty symbolizes her wish to be liberated from class restraints.
The sterile grounds of Thrushcross Grange represent the desire to maintain order and prestige in contrast
to Wuthering Heights, which exudes an unpleasant and decrepit ambiance.
Therefore, Brontë emphasizes the decay motif in Wuthering Heights; much of the house is
physically and emotionally deteriorating as a result of the squally relationships between the characters.
Brontë uses both Wuthering Heights and Thrushcross Grange as environments to explore her central
theme of isolation and its consequences. Using the story's dichotomous structure, she conveys themes
of grief, sadness and the unchangeable destinies of the protagonists as they fall to a life loneliness and
sorrow. Nevertheless, Thrushcross Grange’s environment paints a drastically different picture of
society than Wuthering Height’s wilderness. Mr. Linton and his family own the property. That land is
regarded as the epitome of a genteel, sophisticated England: consisting of expansive fields and lush
vegetation, meticulously groomed and devoid of any wild elements.

Unlike Wuthering Heights, it is ruled by typical Victorian notions of order, beauty, and prosperity
rather than passion and uncontrollable emotions. This contrast emphasizes the cultural clash between
Thrushcross Grange's sophisticated norms and the emotional intensity of Wuthering Heights and
demonstrates that class distinctions can frequently act as an impenetrable isolator between two different

21
 毕业论文 Wuthering Heights as a Gothic novel

groups of people, as it is stated in Thrushcross Grange (2017). Catherine’s visit to Thrushcross Grange
and her change in demeanor and attire emphasize the contrast between the two residences. Catherine
demonstrates that compliance to upper-class English ideals is far more essential than the actual passions
of her heart by leaving the emotional upheaval of Wuthering Heights, and allowing herself to be
changed by the environment of Thrushcross Grange. She believes that by seeking to surpass the gap
between classes and adopting the social traditions of her imagined superiors; she can shorten the gap
between herself and Heathcliff. Yet, this is difficult because, no matter how much Catherine tries to
conform to the norms of Thrushcross Grange, Heathcliff will always remain an outcast of that world.
However, that same feeling of separation has the power to bind people together, and it is most notable
in the intense, enduring bond shared by Catherine and Heathcliff. In the end, Brontë hints that the means
people employ to abolish isolation are frequently ineffective. But, through the suffering of its characters,
Wuthering Heights demonstrates that living in an isolated environment can be a powerful unifying force
that connects people in profound and life-changing ways. As readers witness the conflicts between love
and rage, seclusion and community, it is evident that isolation in Wuthering Heights is never-ending.
And we are constantly confronted with this irony as we notice the separation between Wuthering
Heights and Thrushcross Grange. One can’t exist without the other, yet distance between the two cannot
be bridged.

22
 毕业论文 Wuthering Heights as a Gothic novel

2.3 Supernatural influence: Ghost, omens and visions.

As Almeida (2011), mentions, Gothic novels contain ghosts, apparitions, visions, vampires and
any other form of supernaturalism. It has long been believed that supernatural events in Gothic fiction
provide deeper insights into the characters and their personal motivations. This is evident in Wuthering
Heights, which contains subtle indications of supernatural influences haunting the background. In order
to comprehend the novel’s mystery parts, it is required to delve into the character’s deeper motivations
and behaviors. By observing these two points mentioned above, one can discern the influence of
supernatural forces affecting the events and decisions that push the plot ahead. When the reader sees
the struggles between Heathcliff and Hindley, the supernatural influences of the story become pretty
noticeable. For instance, the initial encounter between these two characters suggests that their enmity
may stem from something more than a mere sibling rivalry. This hostile resentment, which is
inexplicable from a human perspective, serves to reinforce their profoundly personal ties to one another,
implying that a force beyond the character’s control may be at play. As the story progresses, readers
witness Heathcliff’s dreadful revenge against his opponents. Vine (1994) also states the intensity of
Heathcliff’s impulses frequently gives the impression that something demonic and frightful is
manipulating him in his desire for vengeance. The novel’s supernatural influences are also shown
through the relationship between the characters and the natural environment. This is especially
perceptible with Heathcliff, whose existence in the novel often overlaps the untamed parts of nature,
typically via animal or plant imagery. This physical overlap highlights Heathcliff’s fury and desire,
alluding to the might of an unseen, uncontrollable force that hovers around him. Furthermore, it can be
seen that supernatural elements become a significant source of Heathcliff’s strength. By forcing people
to act in accordance with his whims, Heathcliff exhibits a supernatural control over the environment
and its inhabitants. In addition, the concept of omens, ghosts and visions to portray the feelings of the
characters, to the depict the cycle of vengeance, and to develop themes such as mortality, injustice and
fate. Both live and deceased characters appear to the other characters on various occasions. These visits
are frequently interpreted as part of a dream or dreamlike state or visions caused by stress and emotional
despair. For example, Lockwood nightmares of a dead Catherine when he spends the night at Wuthering
Heights and how he says she haunts him the same way she haunts Heathcliff. In (Chapter 3) Lockwood
dreams that Catherine’s ghost is attempting to get in through the window, he screams as if his life is
pending on it, and as a result he wakes up Heathcliff, to whom he tells what happened. Heathcliff, also
has an eerie encounter with Catherine’s ghost, and the way he cries for her after hearing Lockwood’s
dream represents his profound love and anguish after losing her.
This also implies that to Heathcliff, Catherine’s ghost was symbolic rather than literal, allowing the
author to effectively express deep and emotional reactions to the separation of the two main protagonists.
Nelly Dean was another character who, despite claiming not to believe in ghosts, had her piece of omens
and visions, for instance in (Chapter 11) she had a vision of a young Hindley looking at her, then she

23
 毕业论文 Wuthering Heights as a Gothic novel

felt compelled to visit Wuthering Heights, and encounters Hareton Earnshaw who matches the
appearance of the young Hindley in her vision. In (Chapter 34), Nelly is returning home from a night
stroll in the moors when she overhears Heathcliff. He seems to be talking to Catherine as if she is
present. This is an omen that the more he’s close to death, the more he seems to make contact with
Catherine’s ghost. Overall, ghosts, omens, and visions are an essential part of the novel, adding depth
to the plot and contributing to Wuthering Heights' darker tone. They not only are a supernatural element,
but also foreshadow future events and hit at hidden messages in the characters’ lives. They are crucial
elements on the novel, allowing Brontë to explore a wide range of themes while maintaining a sense of
mystery and suspense. To summarize everything that has been explained before, it is obvious that,
Brontë did a great rendering of these elements in Wuthering Heights.

24
 毕业论文 Wuthering Heights as a Gothic novel

3. Gothic romance and female characters in Wuthering Heights.

Wuthering Heights has been praised for its vast and diverse characters. Specifically, Brontë’s
inclusion of a multitude of resilient, captivating female characters has left a lasting impression on
readers of various backgrounds. In the novel, Brontë creates space for women to inhabit, unrestrained
by conventional norms, in the shape of numerous complex and engaging female characters. This chapter
will examine some female characters in Wuthering Heights and how they represent femininity in Gothic
romance.
Women’s gender roles in Wuthering Heights frequently contravene social conventions of the time.
While the males looked to have power and authority over the females in their lives, the women were
portrait as the most powerful characters in any given setting. Women in Wuthering Heights have the
will and ability to change the lives and fates of the male characters in their environment. Brontë uses
the novel’s secluded setting to symbolically underline the reality that most women lived in a cultural
“wilderness” at the time. It indicates that the female roles in Wuthering Heights are typical of the era
in which women were expected to perform domestic labor after acquiring a wealthy and socially
advantageous marriage.
Catherine Earnshaw, the energetic and passionate Earnshaw’s family daughter, is Wuthering Heights’
most notable female character, being present even after her death. Her magnetic energy and reluctance
to conform pervades the story and challenges social norms. Catherine embodies a fearless female
attitude that refuses to be bound by convention. Despite de fact that she is the source of much misery
in the story, her free-spirited character displays he internal strength, and serves as an inspiring feminist
example to readers. Similarly, Catherine’s daughter, Cathy Linton as, Lombardi, Esther (2020) showed
has more in common with her mom that just a name. She inherited her mother’s enthusiasm and
obstinacy. She follows her own inclinations, and opposite to her mother, she is shown to be more
humane and compassionate. Likewise, Nelly Dean, one of the principal narrators in the novel, is a figure
that represents feminist values. She is caring, resilient, blunt and opinionated. As a servant, she also
endures numerous trials and tribulations, bus she never lets her resilience wane.
Her impact on the narrative sheds attention the struggling of women during that era and highlights
her significance as a woman who defies patriarchal culture. Some female characters in Wuthering
Heights are also shown as weak and stereotypical of the era despite their virtues. An example of this is
Isabella Linton, whose blind affection for Heathcliff drives a sea of suffering. For choosing to marry
Heathcliff, though, she is aware of her feelings being unrequited. She exhibits independence in her
choice of spouse and resiliency in the face of hardship, despite the fact that she suffers in her marriage
and as victim of Heathcliff vengeance.
It is in (Chapter17) when she finally decides to leave Heathcliff, confessing to Nelly that “He is a
monster” and that she will escape to London. Her character exemplifies the courage and drive of
Brontë’s female characters to control their fates. Other female characters in Wuthering Heights, such

25
 毕业论文 Wuthering Heights as a Gothic novel

as Zilla and Frances, represent femininity in their unique way. Furthermore, Wuthering heights was
initially published in the early nineteenth century. Hence it is worth noting that Gothic romance and
Victorian writing has been criticized for being male-centered and favoring male writers, which may
explain why many female authors, such as Emily Brontë, have published works under male pseudonym.
The marginalization of female authors during the historical period of which the Wuthering Heights was
written and published will help explain the literary language used when it comes to women. According
to Mary Eagleton's (2011) observations in Working with Feminist Critique, in Wuthering Heights,
female characters and femininity are portrayed as indecisive, egotistic, volatile, nosy and fanciful. In
contrast, males and masculinity are portrayed as composed, brilliant, determined and so on. However,
seen under another point of view, through these characters, Brontë highlights a unique view on the
power of femininity.

26
 毕业论文 Wuthering Heights as a Gothic novel

3.1.1 Catherine and Heathcliff’s romance

As the central theme of Wuthering Heights, readers witness a passionate, stormy, and convoluted
romance between the story’s most essential characters, Catherine and Heathcliff. Their fierce love for
one another powers the novel and is intricately entwined throughout the numerous relationships and
events during the plot. Here there will be an analysis of how Catherine and Heathcliff’s relationship
develops and how it serves a driving force behind the novel’s event and dynamics. From the beginning
of the story, readers learn that Catherine and Heathcliff have a close relationship since the very first
time they met. Often looking inseparable.
Through the narrators’ flashbacks, readers discover that their close bond dates back to their youth,
when Mr. Earnshaw takes Heathcliff to Wuthering Height’s mansion and raises him as a family member.
As youngsters, Cathy and Heathcliff appear to embody the spirit of freedom as they resist Hindley's
despotic power. They are also opposing religious bigotry, as exemplified by Joseph. Although separated
for a while and subjected to years of torture and torment at the hands of Hindley, their relationship is
unbreakable, with Heathcliff declaring his everlasting love for Catherine upon his return home. This
deep, early bond they share pushes their entire relationship ahead. Catherine and Heathcliff’s love is
transcendental and spiritual, or what is known as Twin flames1. As Roberts, S. M., & Jones, A. L, (2011)
mention in their book, a twin-flame relationship is based in chaos, love and deep rooted on the soul,
and this term is evident in Catherine and Heathcliff’s relationship. Nonetheless, much of the novel’s
drama stems from the potential conflict and dysfunction of their relationship. Catherine marries Edgar
Linton in order to climb the social ladder. And although Edgar is indeed and great suitor, she is unable
to move passed her emotional attachment to Heathcliff as she confesses to Nelly. However, she betrays
her feelings, disregarding Heathcliff’ love and the possibility of being happy next to him.
This drives Heathcliff mad as his dark envy and hatred towards Edgar grows, leading to his malicious
revenge. From there, the pain of their separation, jealousy, and all-encompassing love gradually draws
the two characters back together, resulting in the realization of the actual depth of their love for one
another and the tragedy of the circumstances that kept them apart for so long. As the story progresses,
it becomes clear that neither of them can live a happy, fulfilling life apart from the other, making event
the obsessive and toxic nature of their relationship. Catherine becomes his obsession and the price of
his revenge as he suffers for the decisions she’s made. In addition, this obsessive love surpasses human
comprehension as he curses Catherine for the misery, she has given him and begs her ghost to torment
him for the rest of his life. It is worth mentioning that Catherine's relationship with Heathcliff is
emblematic of the concept that class and rank may split people even if their affections are genuine. And

1
Twin flames: A twin flame is a unique person with whom you have an emotional connection that is more often
than not, romantic and who reveals aspects of yourself to you. Meeting a twin flame might also cause inner
turbulence or conflict, comparable to a karmic connection, which also causes a lot of challenging growth.
27
 毕业论文 Wuthering Heights as a Gothic novel

exemplifies how separation, codependency, and toxic love can have horrifying effects on people's
psyches and lives.
Something that is ever present in the relationships of the novel is the intensity of the characters
emotional states. The depiction of deep emotions in Emily Brontë’s Wuthering Heights, is a distinctive
aspect of the novel and is frequently exploited to emphasize how tragic the central romance is. It focuses
on the character and their feelings, as well as the employment of heightened emotions to create a sense
of the sublime. As discussed before, Heathcliff, the protagonist of the story, is a multifaceted individual
whose emotions range from fury and despair to love and longing, Vine (1994). His feelings are
frequently displayed in dramatic ways, as seen by his assertion that he is “Heathcliff” and his desire for
revenge against those who have mistreated him Vine (1994).
This deep emotion is integral to his character. Catherine is among those other characters that are
victims of intense emotions, conflicted between her affection for Heathcliff and Edgar and struggling
with her desires to be accepted by society, Brontë does not fall short in displaying her distress
throughout the novel. These emotions are employed to give the readers a clear glimpse of the tragic
atmosphere of the novel, as these characters are often unable to balance their feelings and societal
obligations. Not only in through characters but also by describing the wild nature of the moors, the
power of the weather, and so on. Betrayal is another powerful emotion reigning throughout the story.
Not only is it present in Heathcliff’s revenge but also in his marriage with Isabella. She is infatuated
with Heathcliff and is willing to go to any length to be with him. Heathcliff, on the other hand, is till
madly in love with Catherine and refuses to reciprocate Isabella’s affection, to the point that he sort of
describes her as repulsive. Hence the ways he mistreats her to the point of driving her to escape. Brontë

28
 毕业论文 Wuthering Heights as a Gothic novel

3.1.1 Catherine Earnshaw as a Gothic heroine

Catherine is the younger daughter of Mr.Earnshaw, the owner of Wuthering Heights. Even though
Mr. Earnshaw is absent for the majority of the story, his influence and presence are felt throughout,
given the fact that he brought Heathcliff. Mr. Earnshaw is also recognized as a generous and
compassionate individual. Despite the fact that Heathcliff is not of the same social status as him, he
takes him in and treats him like his own son. This demonstrates that Mr. Earnshaw was a compassionate
individual who was willing to disregard social norms in order to accomplish what he believed was right.
He has a deep affection for Catherine as well as for his two other sons. As children, Catherine and
Hindley had a close relationship, but as they got older, Hindley grew resentful of Heathcliff and treated
him like a servant. Catherine was determined to be with Heathcliff, despite Hindley’s displeasure and
this caused a wedge between her and her brother.
Hindley’s anger toward Heathcliff is present since the early in the novel. Hindley puts Heathcliff in
handcuffs, calls him a dog, and shows he wants to kill him by throwing a heavy iron weight at his chest,
which knocks him down. Hindley throws Heathcliff under a horse's hooves when he gets up, hoping
the horse will crush him to death. After Frances, Hindley's wife, died, he hated Heathcliff even more
and treated him even worse. Thus proving that him and Catherine, grew up under the same roof,
receiving the same love, yet they are two opposite poles.
Almeida, (2011) describes Catherine as the polar opposite of the usual “Gothic heroine,” who is
characterized by compliance, passivity, reliance and a lack of physical presence. Catherine’s personality
is defined by her beauty and attitude. She is described as “free-spirited and dazzling”, but she can also
be “spiteful, haughty, and childish. According to Almeida, (2011) Gothic novels typically feature
female protagonists that are emotionally fragile and lack a high level of sophistication. The Gothic,
however, gives its heroine moral supremacy over all the other characters since she must still be
portrayed as an influential figure.
One of the most common Gothic heroines is the femme fatale, who stands in a stark contrast to the
cliched saintly Gothic heroine, Almeida (2011). Emily Brontë refuses to conform to the conflicting
Gothic stereotypes of women in Wuthering Heights. Instead, her female protagonist is a mash-up of
traits. Catherine, Wuthering Heights’ “heroine,” the independent spirit and imperfect morality of the
femme fatale while simultaneously representing the physical beauty and emotional volatility of the
Gothic heroine. Not many Gothic heroines possess Catherine’s intelligence or capacity for introspection.
She doesn’t just recount what happened; she also shares her heartfelt emotions, thoughts, and
aspirations as well. It is also worth mentioning that throughout the story, Catherine never allows male
characters to exert power over her. She rebels against her father when she was a child, and then against
her brother. When she marries Linton, she has him under her control, and him being obedient fulfills
her wishes and demands. Gender norms or cultural expectations do not constrain Catherine, but she is
conscious of the social hierarchy in which she lives and seeks to improve her standing in it. By creating

29
 毕业论文 Wuthering Heights as a Gothic novel

Catherine Earnshaw, Brontë revamped the traditional role pf a Gothic heroine, showing that strong,
rebellious, and independent female characters are more than acceptable.

30
 毕业论文 Wuthering Heights as a Gothic novel

3.2 Catherine Earnshaw’s ordeal

More often than not, the female protagonists of Gothic fiction find themselves in the middle of
trials and tribulations, and Wuthering Heights was not the exception. As the female lead, Catherine
Earnshaw plays a significant role in Wuthering Heights. She is a fascinating woman split between
two worlds, and her struggles and troubles are significant to the plot. Catherine’s ordeal beings when
she decides to marry Edgar Linton because, as it is written in the story, he is a fantastic suitor who
can help her improve her social status. She feels an overwhelming love for Heathcliff, but she is
equally drawn to the comfort and stability that Edgar provides. This conflict between her love for
Heathcliff and her longing for a more stable life causes Catherine significant emotional and physical
distress. She goes throughout the story torn between two men, two lives and unable to choose her
own happiness. A vivid example of this is when she passes away, the position of her coffin, as Nelly
describes in (Chapter16) is not with the Earnshaws nor with the Lintons. She’s buried between
Heathcliff and Edgar, and this reflects the results of her inability to find a place to belong.

31
 毕业论文 Wuthering Heights as a Gothic novel

4. Narrative structure of Gothic fiction.

4.1 The innovative narrative in Wuthering Heights

Despite the fact that Wuthering Heights was Emily Bronte's sole novel, it is significant for the
narrative method she used and the amount of craftsmanship involved. Although there are only two clear
narrators, Lockwood and Nelly Dean, the work contains a number of other storylines. The reason for
this is that Wuthering Heights' entire action is given in the form of eyewitness narrations by people who
have played some part in the narration they describe. complex narrative pattern. The novel's use of
numerous narrators, especially Nelly and Lockwood, is essential because it creates a range of narration
styles, which generates a better and more engaging plot. A single omniscient narrator cannot duplicate
the interest created by numerous narrators because the depth established by the narrators' diverse
personalities would be lost.
Wuthering Heights is presented using a technique known as frame narration, which allows readers
to acquire an insider's perspective and forces the reader to assess the narrator's veracity. Emily Brontë
used the frame narration style to provide readers with knowledge of both the past and the future in order
to help them understand the story's principles and the mystery surrounding them. Emily Brontë employs
numerous narrators to demonstrate how each person has their prejudices, interests, loves, and dislikes.
Readers can compare each narrator's view of the characters in Wuthering Heights by creating multiple
narrations. Furthermore, the usage of several narrators is utilized to help readers interpret the
discussions and actions of the characters, while taking into account the narrator's beliefs and those held
or represented by the characters and their behavior. Lockwood relies on Nelly for information because
he is the only one who can report what is happening now, which begins in 1801, the year before
Heathcliff dies.
As a result, Lockwood is getting Nelly's account of the events via his own perspectives. When Nelly
isn't there to see something firsthand, she describes what happened based on what other people told her
or on what was written in a letter. Throughout Wuthering Heights, Nelly places importance on her
beauty in the eyes of the reader and Lockwood, whereas Lockwood places importance on his knowledge
of Thrushcross Grange and Wuthering Heights. Nelly and Lockwood's values differ from Catherine and
Heathcliff's because, while Nelly Dean is deeply invested in the personalities and people she looks for
as the housekeeper, she is immersed and engaged in many of the events that occur in the book, making
her an active participant. Lockwood, on the other hand, is not involved in the action and events that
occur in Wuthering Heights. Therefore, he only wants to know what has happened.
In contrast to other novels with parallel narratives describing the same event in the same time period
from various perspectives, Wuthering Heights has a multi-layered narration, with each narrative
branching off from its parent to disclose a new aspect of the story. Despite the difficulties posed by the
novel's extensive time jumps this intricate technique aids in maintaining a continuous narrative.

32
 毕业论文 Wuthering Heights as a Gothic novel

4.2 The double narrator technique

One of the unique characteristics of Wuthering Heights’ narrative, is the double narrator techinique
that the author used throughout the novel. The structures of Lockwood and Nelly's narratives, provide
the necessary objectivity, while the smaller, more condensed narratives, like Catherine's diary, give us
direct glimpses into the imaginary lives of the main protagonists, which together form the heart of the
story and are joined in subtle ways with each other. They pop up out of nowhere, and their presence is
vividly remembered. All the external events that Nelly or Lockwood narrates are modified at the vein
level, giving each reader a unique opportunity to respond to and appreciate the story's fundamental
dynamics. Bronte's technique is abrupt and dramatic, allowing little time for insight but confronting us
with a sharply focused scene where the characters are realized first as physical presences; they are set
in motion at once and the chain of events begins to occur, and the reader is immediately caught up in
the overall experience of the story without time to consider its meaning.
One of the novel's main protagonists is Ellen "Nelly" Dean. The book's female narrator gives Mr.
Lockwood an eyewitness account of what happened with Catherine. Shunami(1973) In Wuthering
Heights, Nelly is a maid. When it comes to the Earnshaws, she always puts their interests first. But the
story was clouded by her preconceptions. Instead of passing moral judgment on the family, Brontë
exploits the character to provide drama and momentum to the story. Nelly Dean is a potentially very
unreliable source for a variety of reasons. In a first step, she makes it clear that she does not like
Catherine Earnshaw. Catherine rarely shows compassion even when the circumstances call for it. When
it comes to Cathy's siblings, though, Nelly has a soft spot for Hareton. The first sign that Nelly is a
dishonest narrator is her unfair treatment of Cathy. The inconsistency of her story's timeline is another
criticism. As a result, she confuses her own observations with those of a third party. She witnessed the
majority of the events in Wuthering Heights, but she did miss a few. She rounded things out with rumors
and hearsay. On the other hand, Mr. Lockwood is wholly cut off from other information resources. Both
Lockwood and the readers are influenced by her perspective. By exaggerating their relative strengths
and weaknesses, Nelly amplifies the drama of the story.
Nelly Dean was also kicked out of the mansion multiple times. This could be due to her distasteful
behavior against a few of the locals. This occurred when she abandoned Heathcliff on the stairwell
landing upon his return to the mansion. Heathcliff never won the maid's love despite her being in his
life throughout his development. It's also likely that she witnessed the boy's humiliation but did nothing
to stop it. Throughout history, Nelly has been the root of many disagreements. Mr. Lockwood has no
one else he can question about the veracity of the events. His journal is a spectacular but inconsistent
synthesis of Nelly's account and his interpretation of it. However, Nelly is not the only unreliable
narrator in the story; Mr. Lockwood is also unreliable. Lockwood is deemed an unreliable narrator due
to his significant lack of character perception. Mr. Lockwood pays Heathcliff a visit in the Wuthering
33
 毕业论文 Wuthering Heights as a Gothic novel

Heights fashion at the very outset of the tale.Two unreliable narrators present an account that is rife
with inaccuracies about the protagonists' motivations and the consequences of their acts, making it
difficult for the reader to connect emotionally with the story's characters and plot. But it can't stop the
inquisitive reader from digging further into the motivations of the characters and the nature of their odd
relationships. In the end, the structure of two unreliable narrators can only paradoxically strengthen the
legitimacy of the underlying story.
On the other hand, as a narrator, Lockwood portrays the situation from his own perspective in the
novel, thereby enabling the reader to gain a more intimate understanding of the events by experiencing
them vicariously through the narrator. The inclusion of Lockwood as a character in the literary work
affords the author the opportunity to commence the narrative towards its conclusion and navigate
seamlessly between past and present events. The initial sections of the literary work are recounted by
Lockwood, serving as the reader's initial exposure to the milieu of the early 1800s. Lockwood's
narrative is presented in the form of a personal diary, which facilitates the reader's establishment of a
comfortable familiarity with an unbiased character. The narrator's writing style, characterized by self-
awareness, a hint of artificiality, and humor, is thoughtfully designed to elicit empathy from the reader
while also providing opportunities for the reader to derive amusement at the narrator's expense.

34
 毕业论文 Wuthering Heights as a Gothic novel

5. Conclusions.

Wuthering Heights excels as a Gothic novel of its period because it not only complies with the
standards of Gothic literature but also demonstrates a new approach to the genre of Gothic fiction.
This is an impressive combination. The Gothic qualities of Wuthering Heights are largely
responsible for the novel's widespread acclaim. The appearance of ghosts and duplicate characters
in a story creates an air of mystery and suspense, which helps to keep the reader interested in what
happens next. In addition, the isolated location of the moors contributes to the gothic ambiance
that permeates the novel as a whole and the general tone that it has. One further essential
component of the book is the heartbreaking love tale that unfolds between Heathcliff and Catherine.
By employing lyrical language and vivid images throughout the narrative, Brontë reveals her
history as a poet, which is clear throughout the novel. The strong feelings and sad events, which
are out of the usual for a Victorian novel, shed light on the emotional depth of the characters in the
story. And finally, but certainly not least, the emergence of a fresh, self-sufficient, gender-roles-
breaking model of a Gothic heroine is what sets this work apart from others and is the reason why
so many people adore it. Last but not least, as can be seen, this paper sticks to the exploration of
Wuthering Heights and how it is a masterpiece in the Gothic genre. Also how the living
environment of the author, the society at the time, and many other factors, shaped and influenced
on the making of the aforesaid novel.

35
 毕业论文 Wuthering Heights as a Gothic novel

Bibliography

ALMEIDA, A. E. (2011). WUTHERING HEIGHTS:“CURIOSER AND CURIOSER”.

EAGLETON, MARY. FEMINIST LITERARY THEORY: A READER, 3RD ED, WILEY-BLACKWELL, 2011
EAGLETON, MARY. WORKING WITH FEMINIST CRITICISM, BLACKWELL PUBLISHERS, 1996
HAFLEY, J. (1958). THE VILLAIN IN WUTHERING HEIGHTS. NINETEENTH-CENTURY FICTION, 13(3),
199-215.
KENNEDY, PATRICK. (2021, FEBRUARY 16). GOTHIC LITERATURE. RETRIEVED FROM
HTTPS://WWW.THOUGHTCO.COM/GOTHIC-LITERATURE-2207825
KERMODE, F. (1975). WUTHERING HEIGHTS AS CLASSIC. 1993) WUTHERING HEIGHTS. A NEW
CASEBOOK. BASINGSTOKE: MACMILLAN.
LEWIS, M. G. (2003). THE MONK. BROADVIEW PRESS.
LOMBARDI, ESTHER. (2020, AUGUST 28). THE ROLE OF WOMEN IN "WUTHERING HEIGHTS".
RETRIEVED FROM HTTPS://WWW.THOUGHTCO.COM/ROLE-OF-WOMEN-IN-WUTHERING-HEIGHTS-
742022
SAMPSON, L. (2021). FIND YOUR TWIN FLAME: UNDERSTAND AND CONNECT TO YOUR SOUL'S OTHER
HALF. LLEWELLYN WORLDWIDE.
SENF, C. A. (2016). PHYSICAL AND MENTAL HEALTH IN THE BRONTËS’ LIVES AND WORKS. A
COMPANION TO THE BRONTËS, 369-383.
SHUNAMI, G. (1973). THE UNRELIABLE NARRATOR IN WUTHERING HEIGHTS. NINETEENTH-CENTURY
FICTION, 27(4), 449-468.
THRUSHCROSS GRANGE IN WUTHERING HEIGHTS: DESCRIPTION & QUOTES. (2017, NOVEMBER 7).
RETRIEVED FROM HTTPS://STUDY.COM/ACADEMY/LESSON/THRUSHCROSS-GRANGE-IN-WUTHERING-
HEIGHTS-DESCRIPTION-QUOTES.HTML.
VARGHESE, L. M. (2012). STYLISTIC ANALYSIS OF EMILY BRONTË’S WUTHERING HEIGHTS. IOSR
JOURNAL OF HUMANITIES AND SOCIAL SCIENCE, 2(15), 46-50.
VINDELHAG, S. (2022). REPRESENTATIONS OF GENDER IN WUTHERING HEIGHTS: AN ANALYSIS OF
MASCULINITY AND FEMININITY AND WOMEN AS THE ABJECT.
VINE, S. (1994). THE WUTHER OF THE OTHER IN WUTHERING HEIGHTS. NINETEENTH-CENTURY
LITERATURE, 49(3), 339-359.
WATSON, M. R. (1949). " WUTHERING HEIGHTS" AND THE CRITICS. THE TROLLOPIAN, 3(4), 243-263.
WOODRING, C. R. (1957). THE NARRATORS OF WUTHERING HEIGHTS. NINETEENTH-CENTURY
FICTION, 11(4), 298-305.

36