Why We May Misinterpret Wuthering Heights

‘If Wuthering Heights seems out of place in its historical moment, it can perhaps be better understood in terms of its relation to earlier works, most notably the Gothic novel of the late eighteenth century and the poetry of the Romantics.’ (Nestor 2003, p. xix)

A google search on the theme of Wuthering Heights yielded this screenshot:

This may be perpetuating a not-so important point to the novel.

Being written in the mid nineteenth century places the novel squarely in the time when realism was the popular theme. While it is true that Wuthering Heights exhibits more romantic elements than is standard for most if its contemporaries, Small says that, ‘The Romantic models, though important, were ultimately less crucial here than fidelity to life, as she (Brontë) understood it’. (Small 2009, p. ix)

In this assumption it seems Small has undersold the tension that exist between romanticism and realism. Does realism actually underpin the novel?

‘Realistic fiction is often opposed to romantic fiction. The romance is said to present life as we would have it be—more picturesque, fantastic, adventurous, or heroic than actuality; realism, on the other hand is said to represent life as it really is. This distinction in terms solely of subject matter, while relevant, is clearly inadequate’ (Abrams 2005, p269).

Consider Chris Baldick’s summary of Romanticism in relation to its historic significance.

‘The restrained balance valued in 18th‐century culture was abandoned in favour of emotional intensity, often taken to extremes of rapture, nostalgia (for childhood or the past), horror, melancholy, or sentimentality’ (Baldick 2008, NP).

The belief that romanticism and realism are opposites is common, with realism created as an extreme reaction to the hyperbole of Romantic grandiosity (as is the chronological development of these modes). Baldick also reminds us that romanticism is not always a positively loaded mode, reflected in Wuthering Heights' gothic ambience.

Abrams continues with his summary of realism; ‘Realistic fiction is written to give the effect that it represents life and the social world as it seems to the reader’ (Abrams 2005, p269). With this view realism does not have to be real.

So while opposing these two elements is useful, it also does a disservice to categorise Wuthering Heights as one or the other. In contrasting both these modes Brontë Yin/Yangs these modes, with the reader having to decipher which mode is more dominant at any given time.

In this story we find that romanticism and realism can be contradictory and complimentary. Tension has been achieved by using a realistic mode of writing with romantic characterisation. This tension helps drive the narrative as we witness a ‘study of romantic love undertaken by a Romantic imagination’ (Apter 2002, p65).

Consider:

He is a dark-skinned gypsy in aspect, in dress and manners a gentleman – that is, as much a gentleman as many a country squire: rather slovenly, perhaps, yet not looking amiss, with his negligence, because he has an erect and handsome figure – and rather morose – possibly some people might suspect him of a degree of under-bred pride – I have a sympathetic chord within that tells me it is neither of the sort; I know, by instinct, his reserve springs from an aversion to showy displays of feeling – to manifestations of mutual kindness. He’ll love and hate, equally under cover, and esteem it a species of impertinence to be loved or hated again – No, I’m running on too fast – I bestow my own attributes over-liberally on him. (Bronte 2003, p5-6)

This is one of the most telling of paragraphs in the novel; it sets up the light in which we will hear the story. There is a great amount of transition through this passage: from the very superficial description of Heathcliff’s appearance, to the condescending description of his supposed character – which transforms from a moral judgement to an extreme imposition of attributes. In realising his obviousness about his ‘over-liberal’ description, Lockwood quickly reels back and tries to absolve over-extending his descriptions. But it is too late as we are now exposed to his bias.

Throughout we are reliant on the recollections of both Mr Lockwood and Nelly Dean to explain the historical events. Although Mr Lockwood only admits to small parts of the story being his own, he actually underpins all of what Nelly says, as well as those she paraphrases from Isabella and Catherine. This is Lockwood's story.

The embedding of these narratives acts a series of Chinese whispers. As the story has travelled from reality, through Nelly Dean and out of Mr Lockwood, the story seems likely to have been altered through the process to suit the teller's judgements. Lockwood is the direct influence on us, the reader.

Mr Lockwood portrays himself as a morally just, sensible kind who reflects a social order and who lives up to his social expectations. He tells the story matter-of-factly, used to reassure us of his honesty and openness. Why do we have such tension in the discourse with such a sensible narrator to guide us? The above passage from Wuthering Heights subverts this reassurance by openly admitting Lockwood as being unfair in his characterisation. Has our narrator, in more passionate times, forgotten to admit ‘over-liberally’ expressing his opinions? How are we to trust his judgements? Are they his judgements or are they imposed on him by Nelly who originally told this tale?

When Lockwood is relaying the story as told by Nelly, it is notable that Nelly is rational and realistic in her characterisation of those she is fond of. Those she disagrees with are superfluously described wrongs, a sensational contrast with the former. Did Nelly add this emphasis on the moral wrongs, or did Lockwood ‘over-liberally’ apply his own attributes to her as well?

When the story Lockwood witnesses is told, he is much more grounded with his judgements, except for the occasional outburst. Does he use Nelly to pass his own judgements without needing to claim ownership of them?

So Lockwood would seem more complex than his superficial facade would let on. While he has been described as merely the token and disruptive outsider, Lockwood holds all the power to the story as he is the one telling it. He palms off the responsibility of detail to Nelly so to minimise his over-extended judgements, all the while claiming a moral superiority over the strange people from the North with undecipherable, Yorkshire accents. To claim him token sells short everything he is about.

The description of Heathcliff and Catherine’s relationship transcends normal social boundaries; where their cruelty is emotionally sadomasochistic, deriving pleasure from the pain of not only each other but those they have twisted into their machinations. Suppose Nelly, because of her displeasure with how Catherine and Heathcliff’s relationship develops, chastises the youngsters ‘folly’. This causes them to be angry and rebel against these forbidden ideas. Others from the Grange and Wuthering Heights follow in judgement their 'abominable' relationship. The two form a common bond and are ostracised because those who are supposed to care for them have not supported them.

Hindley and Edgar, which Nelly is more kindly too - but not so kindly that she should be favouring - accentuate and elevate her displeasure of Cathy and Heathcliff. Social expectation alone is what has kept the two lovers apart and Nelly (read: Mr Lockwood) is so emphatic about the amoral passion between Heathcliff and Catherine that it seems more persuasive rather than informative.

The tension between romanticism and realism exists, and it is in the form of Lockwood. His realist presentation and Romantic imagination battle for superiority. Why does he do it? Maybe the bitterness of the failing sea-side love expressed directly after the above excerpt has jaded his view of love (Brontë 2003, p6). Maybe he wants what he can't have: a connection like Cathy and Heathcliff's, but is not willing to sacrifice his morals for.

Between Nelly’s moral disapproval and Lockwood’s bitterness of love, the tale may have been twisted into something of their ideals rather than fact. Remember Abrams stated that, ‘Realistic fiction is written to give the effect that it represents life and the social world as it seems to the reader’ (2005 p269).

Why did Brontë decided to use multi-layered narratives?

‘Familiar since childhood with her father Patrick Brontë’s stories, gathered from parishioners, about ‘the doings’ of certain inhabitants of the far-flung places around Haworth – stories which made ‘one shiver and shrink from hearing, (Charlotte’s (Brontë) friend Ellen Nussey reported)’ (Small 2009 p.ix)

Emily’s exposure to these stories would not only have revealed interesting tales of people around her, but also the motives for those tale and how they were told. Her ability to create an unreliable narrator who conflicts mundane realism with indulgent romance like magnetic poles was her greatest asset. The modes never comfortably connect and this tension is the importance of the novel.

Sources

Abrams, MH, 2005 A Glossary of Literary Terms eighth edition, Thomson Higher Education, Boston, MS USA

Apter, TE 2002 ‘Romanticism and Romantic love in Wuthering Heights’ The Brontë Sisters, Chelsea House Publishers,
Broomall, PA USA

Baldick, C 2008 ‘Romanticism ‘The Oxford Dictionary of Literary Terms, Oxford University Press, Oxford Reference Online. Oxford University Press. Deakin University Library. 9 May 2012 http://www.oxfordreference.com.ezproxy-f.deakin.edu.au/views/ENTRY.html?subview=Main&entry=t56.e131

Brontë, E 2003 Wuthering Heights, Penguin Group, Camberwell, Vic Australia

Nestor, P 2003 ‘Introduction’ Wuthering Heights, Penguin Group Camberwell, Vic Australia

Small, H 2009 ‘Introduction’ Wuthering Heights, Oxford University Press, Ney York