呼啸山庄的英语毕业论文

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The Love and Hate in Wuthering HeightsShi Xueping1. IntroductionWuthering Heights, the great novel by Emily Bronte, though not inordinately long is an amalgamation of childhood fantasies, friendship, romance, and revenge. But this story is not a simple story of revenge, it has more profound implications. As Arnold Kettle, the English critic, said," Wuthering Heights is an expression in the imaginative terms of art of the stresses and tensions and conflicts, personal and spiritual, of nineteenth-century capitalist society.” The characters of Wuthering Heights embody the extreme love and extreme hate of the Introduction of the autherEmily Jane Bronte was the most solitary member of a unique, tightly knit, English provincial family. Born in 1818, she shared the parsonage of the town of Haworth, Yorkshire, with her older sister, Charlotte, her brother Branwell, her younger sister, Anne, and her father, the Reverend, Patrick Bronte. All five were poets and writers; all but Branwell would publish at least one was the Bronte children's one relief from the rigors of religion and the bleakness of life in an improverished region; they invented a series of imaginary kingdoms and constructed a whole library of journals stories, pomes, and plays around their inhabitants. Emily's special province was a kingdom she called Gondal, whose romantic heroes and exiles owed much to the poems of stays at several boarding schools were the sum of her experiences outside Haworth until 1842, when she entered a school in Brussels with her sister Charlotte. After a year of study and teaching there, they felt qualified to announce the opening of a school in their own home, but could not attract a single 1845 Charlotte Bronte came across a manuscript volumn of her sister's poems. She knew at once, she later wrote, that they were "not at all like the poetry women generally write... they had a peculiar music-wild, melancholy, and elevating." At her sister's urging, Emily's poems along with Anne's and Charlotte's, were published pseudonymously in 1846. An almost complete silence greeted this volume, but the three sisters, buoyed by the fact of publication, immediately began to write novels. Emily's effort was WUTHERING HEIGHTS; appearing in 1847, it was treated at first as a lesser work by Charlotte, whose JANE EYRE had already been published to great acclaim. Emily Bronte's name did not emerge from behind her pseudonym of Ellis Bell until the second edition of her novel appeared in the meantime, tragedy had struck the Bronte family. In Septermber of 1848 Branwell had succumbed to a life of dissipation. By December, after a brief illness, Emily too was dead; her sister Anne would die the next year. WUTHERING HEIGHTS, Emily's only novel, was just beginning to be understood as the wild and singular work of the Introduction of the storyThe beginning of the story was Mr. Lockwood’s visiting of Wuthering Heights. His amazement of Heathcliff's surliness and curiosity of beautiful Catherine's rudeness urged him to listen to a very strange and frightening love story from Nelly Dean. In the summer of 1771 Mr. Earnshaw brought home an orphan later called Heathcliff he had found in Liverpool. This waif was persecuted by young Hindley, but deeply loved by his daughter Catherine. So there was contradiction between Hindley and Heathcliff since childhood. After the death of their parents and his own marriage, Hindley treated Heathcliff as a servant, but this was relieved by the pleasant times with one of their expeditions they reached Thrushcross Grange where she stayed as the Linton’s guest for several weeks. When she returned to the Wuthering Heights, she was altered a lot: she had been deeply attracted by the dress, luxury of the Lintons, especially the handsome and gentle Edgar Linton. Although she still loved Heathcliff she could not compare Heathcliff’s snobbishness with the gentility of her new friends. Heathcliff was even more badly treated by Hindley after his wife’s death, which increased Heathcliff’s more anger. After overhearing part of Catherine’s conversation with Nelly that she would marry Edgar, Heathcliff could not bear the indignation and degradation and left Wuthering ’s conversation with Nelly was that if Heathcliff could remain, even though all else perished, she should still continue to be. She and Heathcliff belonged to the same kind. But Heathcliff didn’t hear it. So after Heathcliff’s leaving, Catherine was desperately ill and recovered by the care of Linton couple. Three years later Catherine was married to months later, Heathcliff, a different man, appeared. Catherine was so pleased at the news. But out of her surprise Heathcliff took on his two-fold revenge, first on Hindley who had treated him so badly in the past, secondly he threatened Catherine to marry Edgar’s sister Isabella fell in love with Heathcliff and Heathcliff married her out of love, but for the property of Thrush cross Grange. At the same time Catherine locked herself in the room because Edgar refused Heathcliff. The she became delirious from illness and had brain fever. Eventually she recovered but remained delicate. Edgar worried too much about Catherine’s health and Heathcliff and Catherine met again. There was a terrible scene between them. Both of them showed their anger and love to each other which worsened Catherine’s health. Then two hours after her daughter — Cathy’s birth Catherine died. When Heathcliff got the news he was desperately Catherine’s death Isabella returned to Thrushcross Grange after three months with Heathcliff. Hindley died and Heathcliff took Wuthering years later Isabella died, leaving her son Linton to Heathcliff, a weakling boy. Then Edgar Linton and young Linton died and so Heathcliff, Cathy and Hareton, an ill-assorted trio, were left at the Heights; while Thrush Grange was left to Lowood, to whom Nelly told the story ended with the death of Heathcliff and the marriage of Hareton and Cathy. This was two generations’ love story. The first generation’s love was transcendental and the second generation’s love was Introduction of social backgroundIn Viction's period, the rich are enormously proud of their success and property; the secular sense of hierarchy penetrates into the daily life of common people; money and property is nothing but everything. In literature, the smoky, threatening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of England’s “dark Satanic Mills.” Therefore, under the control of this concept, the spirit of human is vehemently suppressed, and the humanity is cruelly twisted and deformed. At this time, Emily who has great rebelling spirit and strong desire of freedom, wrote WUTHERING HEIGHTS, disclosed the evilness of society. The work depicts how humanity was twisted, broken, band destroyed under the hand of violent devastation. But the great death is the steady faith of and yearns for happy life. In the world reined by Heathcliff, the bud of love, coming from Hareton and Cathy, broke through the hard soil of hatred. The betrayal of love brings the twist of humanity but pure love cures the wound, consoles the injured heart, and saves the degenerated soul. Emily shows her positive attitude to the pure love and their destructibility of Theme of the novelWuthering Heights, the creation of Emily Jane Bronte, depicts not a fantasy realm or the depths of hell. Rather, the novel focuses on two main characters' battle with the restrictions of Victorian Society. Social pressures and restrictive cultural confines exile Catherine Earnshaw and Heathcliff from the world and then from each other. Hate can't make love disappear, and love is stronger than . LoveWuthering Heights is a love novel. It has praised human’s moral excellence, has attracted the will of the people’s darkness, unfolding the human with the common custom life and pursueing the fine in the novel is manifested in many Earnshaw's love for HeathcliffForty years ago Wuthering Heights was filled with light, warmth and happiness. , a farmer, lives happily with his boisterous children Catherine and Hindley. However, being a kind and generous fellow, he can’t help rescuing a starving wretch off on the streets of Liverpool, a gypsy child named Heathcliff. In time Heathcliff becomes one member of the family, loved by all except Hindley (who nurtures the feeling of being usurped). Thus it can be concluded that Earnshaw's love for Heathcliff stems from Catherine' love for HeathcliffAs a child, her father was too ill to reprimand the free spirited child, ‘who was too mischievous and wayward for a favorite. (P46). Therefore, Catherine grew up among nature and lacked the sophistication of high society. Catherine removed herself from society and, "had ways with her such as I never saw a child take up before; she put all of us past our patience fifty times and oftener in a day; from the hour she came downstairs till the hour she went to bed, we had not a minute’s security that she wouldn’t be in mischief. Her spirits were always at high-water mark, her tongue always going--singing, laughing, and plaguing everyone who would not do the same. A wild, wicked slip she was--"(P51). Catherine further disregarded social standards and remained friends with Heathcliff despite his degradation by Hindley, her brother. ‘Miss Cathy and he [Heathcliff] were now very thick; ’(P46) and she found her sole enjoyment in his companionship. Catherine grew up beside Heathcliff, ‘They both promised to grow up as rude as savages; the young master [Hindley] being entirely negligent how they behaved, ’(P57). During her formative years Catherine’s conduct did not reflect that of a young Lady, ‘but it was one of their chief amusements to run away to the moors in the morning and remain there all day, (P57). Thus, Catherine’s behavior developed and rejected the ideals of an oppressive, over-bearing society, which in turn created isolation from the institutionalized world. Therefore, Catherine's love for Heathcliff is pure, and Heathcliff's love for Catherine is tinged with danger and Isabella's love for HeathcliffThe first time when Isabella sees Heathcliff, attracted by the charming man, she falls in love with him. No matter how Catherine persuades her, she makes her mind to get married with Heathcliff. Her love for Heathcliff is pure. While, Heathcliff just uses Catherine's sister-in-law Isabella Linton as a weapon, caring not for the poor Catherine's love for EdgarWhen Catherine and Heathcliff exist their private island unchecked until Catherine suffers an injury from the Linton's bulldog. Forced to remain at Thrushcross Grange----the Linton's home, which isolates Catherine from Heathcliff and her former world of reckless freedom. Living amongst the elegance of the Lintons transforms Catherine from a coarse youth into a delicate lady. Her transformation alienates Heathcliff, her soul mate and the love of her life. Catherine fits into society like a square peg trying to fit in a round hole. However, she feels pressure to file her rough edges and marry Edgar Linton. All in all, it is the social pressures and restrictive cultural confines that force Catherine to pretend to fall in love with Edgar. However, Edgar loves Catherine with gracious and transquility.

Wuthering Heights as a Religious NovelWuthering Heights is not a religious novel in the sense that it supports a particular religion (Christianity), or a particular branch of Christianity (Protestantism), a particular Protestant denomination (Church of England). Rather, religion in this novel takes the form of the awareness of or conviction of the existence of a overwhelming sense of the presence of a larger reality moved Rudolph Otto to call Wuthering Heights a supreme example of "the daemonic" in literature. Otto was concerned with identifying the non-rational mystery behind all religion and all religious experiences; he called this basic element or mystery the numinous. The numinous grips or stirs the mind so powerfully that one of the responses it produces is numinous dread, which consists of awe or awe-fullness. Numinous dread implies three qualities of the numinous: its absolute unapproachability, its power, and. its urgency or energy. A misunderstanding of these qualities and of numinous dread by primitive people gives rise to daemonic dread, which Otto identifies as the first stage in religious development. At the same time that they feel dread, they are drawn by the fascinating power of the numinous. Otto explains, "The daemonic-divine object may appear to the mind an object of horror and dread, but at the same time it is no less something that allures with a potent charm, and the creature, who trembles before it, utterly cowed and cast down, has always at the same time the impulse to turn to it, nay even to make it somehow his own." Still, acknowledgment of the "daemonic" is a genuine religious experience, and from it arise the gods and demons of later religions. It has been suggested that Gothic fiction originated primarily as a quest for numinous dread. For Derek Traversi the motive force of Brontë's novel is "a thirst for religious experience," which is not Christian. It is this spirit which moves Catherine to exclaim, "surely you and everybody have a notion that there is, or should be, an existence of yours beyond you. What were the use of my creation if I were entirely contained here? (Ch. ix, p. 64). Out of Catherine's–and Brontë's–awareness of the finiteness of human nature comes the yearning for a higher reality, permanent, infinite, eternal; a higher reality which would enable the self to become whole and complete and would also replace the feeling of the emptiness of this world with feelings of the fullness of being (fullness of being is a phrase used by and about mystics to describe the aftermath of a direct experience of God). Brontë's religious inspiration turns a discussion of the best way to spend an idle summer's day into a dispute about the nature of heaven. Brontë's religious view encompasses both Cathy's and Linton's views of heaven and of life, for she sees a world of contending forces which are contained within her own nature. She seeks to unite them in this novel, though, Traversi admits, the emphasis on passion and death tends to overshadow the drive for unity. Even Heathcliff's approaching death, when he cries out "My soul's bliss kills my body, but does not satisfy itself" (Ch. xxxiv, p. 254), has a religious John Winnifrith also sees religious meaning in the novel: salvation is won by suffering, as an analysis of references to heaven and hell reveals. For Heathcliff, the loss of Catherine is literally hell; there is no metaphoric meaning in his claim "existence after losing her would be hell" (Ch. xiv, p. 117). In their last interview, Catherine and Heathcliff both suffer agonies at the prospect of separation, she to suffer "the same distress underground" and he to "writhe in the torments of hell" (XV, p. 124). Heathcliff is tortured by his obsession for the dead/absent Catherine. Suffering through an earthly hell leads Healthcliff finally to his heaven, which is union with Catherine as a spirit. The views of Nelly and Joseph about heaven and hell are conventional and do not represent Brontë's views, according to has endured hell. Indeed, most of this novel becomes a test of what she can endure. Helen Burns and Miss Temple teach Jane the British stiff upper lip and saintly patience. Then Jane, star pupil that she is, exemplifies the stoicism, while surviving indignity upon indignity. Jane’s soul hunkers down deep inside her body and waits for the shelling to stop. Only at Moor’s End, where she teaches and grows, does her soul come out. She stops enduring and begins living. Jane begins to become an “I” in her 19th year. In the sentence, “Reader, I married him.” Jane makes clear who is in charge of her life and her marriage; she is. That “I” stands resolutely as the subject of the sentence commanding the verb and attaching itself to the object, “him.” She is no longer passive, waiting and sitting for Rochester’s attention. Rather, she goes out and gets him. She has gone a long way from the beginning of the novel. At Gateshead, Jane tries to direct her life. Her little “I” scolds Mrs. Reed and chastises John. Like the later Jane, she knows her mind and speaks it. Unlike the later Jane, however, she does not have the wherewithal to back up her soul. She does not have the physical strength, the mental skills, nor the finances to stand on her own. As a result, she can be thrown into the Red Room to repent her sins and can be cast into Lowood. At Lowood, her pernicious saints, Helen Burns and Miss Temple, suppress the young ego under a blanket of will, religion, and self-sacrifice. Helen teaches Jane to blame herself for everything and blame others for nothing. Helen suffers depredation upon humiliation in the name of dirty fingernails and disorganized socks, all the while chanting “Thank you sir, may I have another.” Jane internalizes this, so that she blames herself for Rochester’s faults and error and even forgives the unforgivable, Mrs. Reed. For her part, Miss Temple teaches Jane to be subversive, but charming. Rebellion is seed cake and a smile. Rebellion is not keeping the students from the ten-mile forced march to church. Jane follows these dictates as well, manipulating Rochester for scraps and sops. With one withering blast, Rochester dynamites these two icons into sanctimonious rubble and sends Jane back out into the elements. Her soul, long buried or locked away in the attic, bursts forth and sends Jane for the escape pods. Out in the moors, sucking on dirt, Jane chooses to live on and rebuilds herself. First with the help of her cousins, then with the arrogantly humble Rivers St. John, Jane rediscovers who she is and discards who she isn’t. Ironically, her final self-definition comes from Rivers when he proposes. Helen Burns and Miss Temple would have knelt at the chance, but Jane lets the cup pass by. In her rejection, she sweeps the debris away and stands by herself. So, when she returns to Thornfield, she comes with her own money and her own identity. Reduced or not, Rochester can only stand with Jane, not tower over her. She comes with a skill, cash, and self-knowledge. And under her own power, she submits herself to Rochester. She allows herself to be called Janet and to refer to him as “sir.” She willingly and momentarily drops her head. But not for long. In the ultimate chapter, Jane directly addresses her “Reader.” The final chapter takes place a year or two post-fire, as the mature Jane looks back on her life. By the act of writing, Jane has defined herself and stepped away from the saint-in-training. By writing the truth, in all of its ugliness, she separates herself from the persona. The Jane in the first 38 chapters is not the final Jane that addresses the reader. That Jane has had a child, has married a man, and has made a spot in the world. The great triumph of that line comes not from the man that she has married, but from the rediscovery and reaffirmation of the voice that once told off Mrs. Reed. The girl lost her voice at Lowood has become the woman who can tell us the story. The novel itself is Jane’s final "I."