Introduction
Emily Brontë’s Wuthering Heights (1847) presents a stark polarisation between the Earnshaw and Linton families, embodied in their respective homes: the wild, tumultuous Wuthering Heights and the refined, orderly Thrushcross Grange. This essay analyses the contrasts between these settings and families, as highlighted in the given passage, and explores how they reflect differing characters and values. Furthermore, it discusses why readers often sympathise with the destructive Catherine Earnshaw and Heathcliff despite their flaws, and evaluates whether emotional intensity and freedom render characters more admirable than moral restraint and social stability. Drawing on literary criticism, the analysis reveals Brontë’s exploration of Romantic individualism versus Victorian social norms, ultimately questioning the appeal of unbound passion in human nature.
The Contrast Between Settings and Their Reflection of Characters and Values
The settings in Wuthering Heights serve as metaphors for the opposing values of the Earnshaws and Lintons. Wuthering Heights, perched on the moors, is depicted as a place of raw, elemental forces—stormy winds, rugged landscapes, and untamed energy. This mirrors the Earnshaws’ naturalness and unrestrained emotions, particularly in Heathcliff and Catherine, who embody “free feeling” and “unrestrained energy” as described in the passage (Brontë, 1847). For instance, Catherine’s declaration, “I am Heathcliff,” underscores their symbiotic bond with the wild moors, rejecting societal boundaries (Brontë, 1847, p. 82). Critics like Gilbert and Gubar argue that this setting represents a rejection of patriarchal conventions, allowing characters to express primal instincts (Gilbert and Gubar, 1979).
In contrast, Thrushcross Grange symbolises civility and convention, with its manicured gardens and elegant interiors. The Lintons, including Edgar and Isabella, are “creatures of custom,” adhering to “ethically accepted moral rules” from childhood (passage). Their world is one of social stability, where emotions are tempered by propriety. Lockwood’s initial encounter highlights this divide: the Grange offers comfort and order, while the Heights exude chaos (Brontë, 1847). This dichotomy reflects broader values—Earnshaws value passion and authenticity, often at the cost of destruction, whereas Lintons prioritise harmony and morality, arguably limiting human potential. As Eagleton notes, these settings critique class and cultural divides in 19th-century England, with the moors representing untamed freedom against genteel restraint (Eagleton, 1975). However, this polarisation is not absolute; characters like Catherine oscillate between worlds, highlighting internal conflicts.
Reader Sympathy for Catherine and Heathcliff Despite Destructive Behaviour
Despite their vengeful and self-destructive actions—Heathcliff’s tyranny and Catherine’s betrayal—readers often sympathise with them due to their “magnificent human strength” and “freedom of being” (passage). This stems from a subconscious longing for uninhibited existence, as the passage suggests. Catherine’s spectral pleas and Heathcliff’s enduring love evoke pity, portraying them as victims of societal constraints rather than mere villains. Their passion transcends ordinary life, making their suffering profoundly human. For example, Heathcliff’s grief-driven decline invites empathy, as it reveals vulnerability beneath his rage (Brontë, 1847).
Literary analysis supports this: Bloom posits that their “exceeding human measure in both good and evil” fascinates readers by tapping into archetypal desires for transcendence (Bloom, 2007). Indeed, in a Victorian context of repression, their intensity offers vicarious liberation. However, this sympathy is not universal; some view their behaviour as immoral, yet the novel’s narrative, filtered through Nelly Dean, humanises them, fostering emotional connection over judgement.
Emotional Intensity Versus Moral Behaviour and Social Stability
The passage raises whether emotional intensity and freedom make characters more admirable than moral behaviour and stability. Catherine and Heathcliff are “great individuals,” capable of profound love and hate, arguably more compelling than the Lintons’ “merely good” nature (passage). Their unbound passion aligns with Romantic ideals, celebrating the sublime over the mundane. Brontë, influenced by Romanticism, portrays this as a vital force, even if destructive—Heathcliff’s final union with Catherine’s ghost suggests transcendent fulfilment (Brontë, 1847).
Yet, this admiration is debatable. Moral stability, embodied by the Lintons, ensures societal cohesion, as seen in Edgar’s kindness. Gilbert and Gubar critique this as gendered: women’s “freedom” often leads to tragedy in patriarchal society (Gilbert and Gubar, 1979). Furthermore, emotional excess causes generational suffering, questioning its superiority. Eagleton views it through class lenses, where Earnshaw intensity disrupts bourgeois order, but at great cost (Eagleton, 1975). Generally, while intensity captivates, moral behaviour offers sustainable virtue; Brontë leaves this ambiguous, inviting readers to weigh passion’s allure against stability’s merits.
Conclusion
In summary, Wuthering Heights contrasts the chaotic, passionate world of the Earnshaws and Heights with the Lintons’ orderly Grange, reflecting values of freedom versus convention. Readers sympathise with Catherine and Heathcliff for their raw humanity, and while emotional intensity may seem more admirable, it often undermines moral stability. This tension underscores Brontë’s critique of human limits, implying that true greatness lies in balancing both. The novel’s enduring appeal lies in this exploration, challenging readers to confront their own desires for unbound existence.
References
- Bloom, H. (ed.) (2007) Emily Brontë’s Wuthering Heights. Infobase Publishing.
- Brontë, E. (1847) Wuthering Heights. Thomas Cautley Newby.
- Eagleton, T. (1975) Myths of Power: A Marxist Study of the Brontës. Palgrave Macmillan.
- Gilbert, S. M. and Gubar, S. (1979) The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. Yale University Press.
