http://www.victorianweb.org/authors/bronte/ebronte/bump6.html
MLA Citation:
bump, Jerome . "Family-Systems Theory, Addiction, and Emily Brontës Wuthering Heights." The Victorian Web . N.p., 25 Nov. 2004. Web. 16 Apr. 2014. http://www.victorianweb.org/authors/bronte/ebronte/bump6.html.
Annotation:
Who knew one good deed, like taking in an orphan could ruin the lives of so many. I mean when your family motto is “every man’s hand is against his neighbor” tells you that there’s trouble in wuthering heights. From the fact that people are repeated as if they don’t change from generation to generation; the sharing of personalities between mother and daughter, the killing of animals between father and son, and the need for revenge on whoever has wronged you in so many of the characters. The constant mistreatment of women who were victims of split loyalties, triangulation, scapegoating, individualism and anorexia. Addiction plays a major role at wuthering heights, the addiction to anorexia shown by Catherine, the addiction to love shown by Heathcliff and his love for Catherine, the addiction to alcohol shown by Hindley. And the addiction of mentally abusing others shown by Heathcliff’s hash words towards Isabel and his son Hareton. Even the addiction of physically abusing others shown by Catherine and her actions towards nelly the servant. But the family at wuthering heights seems to be getting healthier as the generations go on. Many people seek such functional family systems in life but find them only in fiction, but any family even if its dysfunctional is better than none.
http://www.victorianweb.org/authors/bronte/ebronte/farrell1.html
MLA Citation:
Farrell, john . "The Dreams in Wuthering Heights." the victorian web . N.p., 25 Nov. 2004. Web. 16 Apr. 2014. <http://www.victorianweb.org/authors/bronte/ebronte/farrell1.html>.
Annotation:
one dream of Mr. Lockwood surrounds Catherine and her unfulfilled immortality; Catherine’s spirit cannot rest until she can work out whatever is keeping her here. “I dreamt once that I was there……heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out, into the middle of the heath on top of Wuthering Heights, where I woke up sobbing for joy.” Nelly, who claims not to believe in ghosts, does have some superstitions. She does not like to hear other people's dreams, and she refuses to hear Catherine's. Catherine suggests that it was a bad dream, maybe a prophecy. Catherine tells Nelly that she dreamed she was in heaven, and unhappy there. But Nelly stops her then, refusing to hear more. Catherine and Heathcliff are tightly connected, and Heathcliff has said that his heaven is not the religious kind, but an eternity with Catherine. Perhaps she is of the same opinion, and her dream foretold their sad end. Mr. Lockwood’s other dream is all about sin which is very prevalent in wuthering height, in his dream The snowfall becomes a blizzard, and when Lockwood is ready to leave, he is forced to ask for a guide back to Thrushcross Grange. No one will help him. He takes a lantern and says that he will find his own way, promising to return with the lantern in the morning. Joseph, seeing him makes his way through the snow, assumes that he is stealing the lantern, and loses the dogs on him. Pinned down by the dogs, Lockwood grows furious, and begins cursing the inhabitants of the house. His anger brings on a nosebleed, and he is forced to stay at Wuthering Heights. The housekeeper, Zillah, leads him to bed. This proves that even the most dedicated solidarity cannot arrive at this luminous state.
http://www.usfca.edu/jco/magnanimityofwutheringheights/
MLA Citation:
carol, joyce . "The Magnanimity of Wuthering Heights." - University of San Francisco (USF). N.p., 2 Dec. 2004. Web. 16 Apr. 2014. <http://www.usfca.edu/jco/magnanimityofwutheringheights/>.
Annotation:
Emily Bronte's sense of the parable residing beneath her melodramatic tale guides us throughout: for we are allowed to know, despite the passionate and painfully convincing nostalgia for the Heights, the moors, and childhood, evinced by Catherine and Heathcliff, that their values, and hence their world (the Heights) are doomed.
What endures, for mankind's sake, is not the violent and narcissistic love of Catherine and Heathcliff (who identify with each other, as fatal twins, rather than individuals), but the easier, more friendly, and altogether more plausible love of the second Catherine and Hareton Earnshaw.
In the famous and unfailingly moving early scene in which Catherine Earnshaw tries to get into Lockwood's chamber (more specifically her old oak-paneled bed, in which, nearly a quarter of a century earlier, she and the child Heathcliff customarily slept together), it is significant that she identifies herself as Catherine Linton though she is in fact a child; and that she informs Lockwood that she had lost her way on the moor, for twenty years.
The highly passionate relationship between Catherine and Heathcliff, forged in their embittered and savage childhood, has been variously interpreted: it is a doomed "gothic" romance, whose depth of feeling makes the inane Lockwood and his narrative-mate Mrs.
So famous are certain speeches in Wuthering Heights proclaiming Catherine's bond with Heathcliff ("Nelly, I am Heathcliff he's always, always in my mind"),1 and Heathcliff's with Catherine (Oh, God! So far as the romantic plot is concerned, it is Catherine's decision to enter into a misguided engagement with Edgar Linton that precipitates the tragedy: more specifically, a melodramatic accident by which Heathcliff overhears part of Catherine's declaration to Mrs.
In place of Poe's androgynous male lovers we have the immature Heathcliff (only twenty years old when Catherine dies); in place of the vampire Ligeia, or the amenorrheic Lady Madeleine, is the tomboyish Catherine, whose life has become a terrifying "blank" since the onset of puberty.
(Significantly, Heathcliff is grinning as a corpse "grinning at death" as old Joseph notes.) Very few readers of Wuthering Heights have cared to observe that there is no necessary or even probable connection between the devoted lover of Catherine, and the devoted hater of all the remaining world (including and this most improbably Catherine's own daughter Catherine, who resembles her): for certain stereotypes persist so stubbornly they may very well be archetypes, evoking, as they do, an involuntary identification with energy, evil, will, action.
This particular demon is Heathcliff only: Heathcliff Heathcliff, possessing no other name: sired, it would seem, by himself, and never legally adopted by Mr.
For all that she has been demeaned as ordinary, unimaginative, and incapable of comprehending a "grand passion" of the operatic scale of Catherine's and Heathcliff's, the novel's central narrator, Ellen Dean, in her solitary fashion, remains unshakably faithful to the actual world in which romance burns itself out: the workaday world of "splendidly reflected" light and heat, and smooth white paving stone, and high-backed chairs, and immense pewter vessels and tankards, and kitchens cheerful with great fires.
MLA Citation:
bump, Jerome . "Family-Systems Theory, Addiction, and Emily Brontës Wuthering Heights." The Victorian Web . N.p., 25 Nov. 2004. Web. 16 Apr. 2014. http://www.victorianweb.org/authors/bronte/ebronte/bump6.html.
Annotation:
Who knew one good deed, like taking in an orphan could ruin the lives of so many. I mean when your family motto is “every man’s hand is against his neighbor” tells you that there’s trouble in wuthering heights. From the fact that people are repeated as if they don’t change from generation to generation; the sharing of personalities between mother and daughter, the killing of animals between father and son, and the need for revenge on whoever has wronged you in so many of the characters. The constant mistreatment of women who were victims of split loyalties, triangulation, scapegoating, individualism and anorexia. Addiction plays a major role at wuthering heights, the addiction to anorexia shown by Catherine, the addiction to love shown by Heathcliff and his love for Catherine, the addiction to alcohol shown by Hindley. And the addiction of mentally abusing others shown by Heathcliff’s hash words towards Isabel and his son Hareton. Even the addiction of physically abusing others shown by Catherine and her actions towards nelly the servant. But the family at wuthering heights seems to be getting healthier as the generations go on. Many people seek such functional family systems in life but find them only in fiction, but any family even if its dysfunctional is better than none.
http://www.victorianweb.org/authors/bronte/ebronte/farrell1.html
MLA Citation:
Farrell, john . "The Dreams in Wuthering Heights." the victorian web . N.p., 25 Nov. 2004. Web. 16 Apr. 2014. <http://www.victorianweb.org/authors/bronte/ebronte/farrell1.html>.
Annotation:
one dream of Mr. Lockwood surrounds Catherine and her unfulfilled immortality; Catherine’s spirit cannot rest until she can work out whatever is keeping her here. “I dreamt once that I was there……heaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out, into the middle of the heath on top of Wuthering Heights, where I woke up sobbing for joy.” Nelly, who claims not to believe in ghosts, does have some superstitions. She does not like to hear other people's dreams, and she refuses to hear Catherine's. Catherine suggests that it was a bad dream, maybe a prophecy. Catherine tells Nelly that she dreamed she was in heaven, and unhappy there. But Nelly stops her then, refusing to hear more. Catherine and Heathcliff are tightly connected, and Heathcliff has said that his heaven is not the religious kind, but an eternity with Catherine. Perhaps she is of the same opinion, and her dream foretold their sad end. Mr. Lockwood’s other dream is all about sin which is very prevalent in wuthering height, in his dream The snowfall becomes a blizzard, and when Lockwood is ready to leave, he is forced to ask for a guide back to Thrushcross Grange. No one will help him. He takes a lantern and says that he will find his own way, promising to return with the lantern in the morning. Joseph, seeing him makes his way through the snow, assumes that he is stealing the lantern, and loses the dogs on him. Pinned down by the dogs, Lockwood grows furious, and begins cursing the inhabitants of the house. His anger brings on a nosebleed, and he is forced to stay at Wuthering Heights. The housekeeper, Zillah, leads him to bed. This proves that even the most dedicated solidarity cannot arrive at this luminous state.
http://www.usfca.edu/jco/magnanimityofwutheringheights/
MLA Citation:
carol, joyce . "The Magnanimity of Wuthering Heights." - University of San Francisco (USF). N.p., 2 Dec. 2004. Web. 16 Apr. 2014. <http://www.usfca.edu/jco/magnanimityofwutheringheights/>.
Annotation:
Emily Bronte's sense of the parable residing beneath her melodramatic tale guides us throughout: for we are allowed to know, despite the passionate and painfully convincing nostalgia for the Heights, the moors, and childhood, evinced by Catherine and Heathcliff, that their values, and hence their world (the Heights) are doomed.
What endures, for mankind's sake, is not the violent and narcissistic love of Catherine and Heathcliff (who identify with each other, as fatal twins, rather than individuals), but the easier, more friendly, and altogether more plausible love of the second Catherine and Hareton Earnshaw.
In the famous and unfailingly moving early scene in which Catherine Earnshaw tries to get into Lockwood's chamber (more specifically her old oak-paneled bed, in which, nearly a quarter of a century earlier, she and the child Heathcliff customarily slept together), it is significant that she identifies herself as Catherine Linton though she is in fact a child; and that she informs Lockwood that she had lost her way on the moor, for twenty years.
The highly passionate relationship between Catherine and Heathcliff, forged in their embittered and savage childhood, has been variously interpreted: it is a doomed "gothic" romance, whose depth of feeling makes the inane Lockwood and his narrative-mate Mrs.
So famous are certain speeches in Wuthering Heights proclaiming Catherine's bond with Heathcliff ("Nelly, I am Heathcliff he's always, always in my mind"),1 and Heathcliff's with Catherine (Oh, God! So far as the romantic plot is concerned, it is Catherine's decision to enter into a misguided engagement with Edgar Linton that precipitates the tragedy: more specifically, a melodramatic accident by which Heathcliff overhears part of Catherine's declaration to Mrs.
In place of Poe's androgynous male lovers we have the immature Heathcliff (only twenty years old when Catherine dies); in place of the vampire Ligeia, or the amenorrheic Lady Madeleine, is the tomboyish Catherine, whose life has become a terrifying "blank" since the onset of puberty.
(Significantly, Heathcliff is grinning as a corpse "grinning at death" as old Joseph notes.) Very few readers of Wuthering Heights have cared to observe that there is no necessary or even probable connection between the devoted lover of Catherine, and the devoted hater of all the remaining world (including and this most improbably Catherine's own daughter Catherine, who resembles her): for certain stereotypes persist so stubbornly they may very well be archetypes, evoking, as they do, an involuntary identification with energy, evil, will, action.
This particular demon is Heathcliff only: Heathcliff Heathcliff, possessing no other name: sired, it would seem, by himself, and never legally adopted by Mr.
For all that she has been demeaned as ordinary, unimaginative, and incapable of comprehending a "grand passion" of the operatic scale of Catherine's and Heathcliff's, the novel's central narrator, Ellen Dean, in her solitary fashion, remains unshakably faithful to the actual world in which romance burns itself out: the workaday world of "splendidly reflected" light and heat, and smooth white paving stone, and high-backed chairs, and immense pewter vessels and tankards, and kitchens cheerful with great fires.