Sympathetic Background in Wuthering Heights - 1044 Words

How does Emily Bronte use sympathetic background in Volume One to convey tragedy? Volume One contains a jittery narrative which is a mark of Bronte’s ominous style from which tragic events occur. With this jumping between events, there is an obvious foreshadowing of tragedy through a combination of pathetic fallacy, emotional symbolism and sympathetic background. Sympathetic background is the literary device where the surroundings mirror, mimic or elope with the emotions of the characters in it. Sympathetic background is especially evident when Bronte uses much of the settings of Thrushcross Grange and Wuthering Heights to convey the feelings of the characters within. The use of sympathetic background can be seen as early as the first†¦show more content†¦This chapter also gives Heathcliff his first major speech, from which he scorns â€Å"I’d not exchange, for a thousand lives, my condition here, for Edgar Linton’s at Thrushcross Grange-not if I might have the privilege of flinging Joseph off the highest gable, and painting the house-front with Hindley’s blood!†. These graphic, gothic lines show his emotional bonds with the Heights, that he and the Heights share each others’ feelings in times of hardship and struggle. It’s showing that both houses are representative of classes, from a Marxist perspective. The natural power of the Heights is matched by the moral power of the Grange. This balance turns into another struggle in Chapter 8, this time between Heathcliff and Edgar Linton. With Catherine caught in a trap of whether to follow her heart or her head, with Heathcliff pressuring Catherine into giving into him, who is then distraught when he overhears a conversation between her and Nelly, hears the wrong part, then running off. The conversation by the fire with Nelly isn’t as covert as planned, as the surroundings, the howling gale outside influence the characters. Uttering the cutting line â€Å"I am Heathcliff†, she is distraught as he gallops away. With her new found opulence, the new Misses Linton is beset by woe 5 years on when Heathcliff returns to the Grange in Chapter 10. This immense jubilation isShow MoreRelatedCompare And Contrast Emma And Wuthering Heights1562 Words   |  7 Pagesto read the rest of the novel. Jane Austen’s Emma, Emily Bronte’s Wuthering Heights and Charlotte Bronte’s Jane Eyre are considered classic literary works of the nineteenth century; it is probable that their success could be attributed to having a masterful introductory chapter. This conjecture can be supported through the fact that many similarities can be found among each of the chapters. To delve into what makes Emma’s, Wuthering Heights’s and Jane Eyre’s introductory chapters truly captivatingRead MoreThe Love and Hate in Wuthering Heights5240 Words   |  21 PagesThe Love and Hate in Wuthering Heights Shi Xueping Introduction Wuthering 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, personalRead MoreVictorian Novel9605 Words   |  39 Pagesliving. Artists of ‘Pre- Raphaelite Brotherhood’ claimed to write only true about nature, concentrate only on the true ideas. These three years saw the rise of such works: of Bronte sisters’ Poems, Charlotte Bronte’s Jane Eyre, Emily Bronte’s Wuthering Heights, William Thackeray’s Vanity Fair. The Following twenty years could be seen as the high period of ‘Victorian novel’. Despite being a mixture of boom and slump, the years of 1850-1870 were recognized by the economic growth. The nation was the richestRead MoreThe Studio System Essay14396 Words   |  58 Pagesindividuals. With this in mind, it is fair to say that the art director has more influence on a given film than nearly anyone else who works on the project. This was especially true in the 1930s when the Hollywood Studio system was at the height of its power. The way that credit was given for art direction makes it difficult to judge the work of the individuals who did the actual set design and visual design of the films of the thirties. In looking at art direction in