Classic

Wuthering Heights

by Emily Brontë

Summary

Heathcliff arrives at Wuthering Heights as a foundling taken in by the Earnshaw family and grows up alongside Catherine Earnshaw in a bond so total that she later says, famously, "I am Heathcliff." Catherine marries the genteel, comfortable Edgar Linton at Thrushcross Grange instead, telling herself it would degrade her to marry Heathcliff even as she admits she loves him more; Heathcliff leaves, returns wealthy and transformed, and spends the rest of his life exacting a cold, patient revenge on both families, marrying Edgar's sister Isabella to torment her and, after Catherine's death in childbirth, extending his cruelty into the next generation, controlling and abusing Catherine's daughter, also named Cathy, and Hareton Earnshaw, whom he deliberately keeps ignorant and degraded, exactly as Hareton's father Hindley once treated Heathcliff. Only after Heathcliff's death do Cathy and Hareton, the second generation, find their way to something like the tenderness their parents' generation destroyed itself trying to reach.

The story reaches the reader secondhand, through the housekeeper Nelly Dean's long account to the outsider Mr Lockwood, who has just rented Thrushcross Grange and finds himself unsettled by strange noises and a ghost at the window on his first night. That framing device keeps Heathcliff and Catherine at a remove even as their passions dominate every page, and the effect is a novel that feels both wild and tightly controlled, brutal in its violence and yet written with real formal discipline. It is not a comfortable read, and modern readers sometimes arrive expecting a love story and find something closer to a study of obsession and cruelty passed down like an inheritance.

Emily Bronte published it under the pseudonym Ellis Bell in 1847 and died the following year, having written no other novel.

Historical Context & Significance

Early reviews were largely hostile. Graham's Lady Magazine called it a compound of vulgar depravity and unnatural horrors, and The Examiner found it wild, confused, disjointed and improbable, though The Atlas conceded a rugged power beneath the strangeness. Charlotte Bronte edited a second edition in 1850, after Emily's death, and wrote a defensive preface trying to explain her sister's imagination to a public still uneasy with the book's violence.

Its reputation reversed completely within a few decades: from the 1880s, after Swinburne's 1883 essay and Mary Robinson's biography of Emily the same year, critics began placing it above Jane Eyre, and Virginia Woolf argued in 1925 that Emily's poetic vision made it the greater achievement of the two sisters. It is now routinely counted among the greatest novels in English, has drawn sustained feminist critical attention since the 1970s, and has been adapted for film, television and the stage many times, its Yorkshire moor setting as much a character in every version as Heathcliff himself.