Emily and Anne Brontë

W. H. Stevenson

• Publisher: Routledge
• Year: 2015
• eBook ISBN: 9781317399124
• Edition: 1
• Topic: Literature
• Subtopic: Literary Criticism
• Index: Literature

From the claustrophobic environment of Haworth Parsonage emerged an astonishing range and diversity of character and talent. Between them the two youngest Brontë sisters wrote three novels, each sharply individual in style, purpose and subject-matter.

The title, first published in 1968, discusses and illustrates the similarities and differences in the writings of Emily and Anne Brontë, paying particular attention to their place in the development of the Victorian novel. He stresses the complexities of structure and characterisation in Wuthering Heights, introducing the reader first to the background of the novel. This book will be of interest to students of English Literature.

Speech in ‘Wuthering Heights’

A novelist uses conversation for two purposes—to advance the action, and to display the character of the speaker. In both cases, speech has the advantage of being direct; the writer is not describing or explaining, but actually demonstrating the personality of the speaker in action. Nevertheless, the tradition of completely realistic dialogue took a long time to grow. Much of the conversation in novels of the eighteenth and nineteenth centuries is written in a composed style such as the most formal of talkers is unlikely ever to have used. This tradition was still active in the Brontës’ time; such artificial speech may be found on the lips of characters in Dickens and Thackeray, for example. It is a mistake to criticise this kind of speech for its artificiality; it is not meant to be ‘real’. When necessary, the writer will turn to a more natural mode of speech; but in places where the action demands a heightened atmosphere, concentration of purpose, or merely thorough exposition, the writer controls the speaker’s words so that they convey character through the action spoken of, rather than through the speech: and not only the character of the speaker, but also the author’s interpretation of his words. Just so, the Elizabethan dramatists made their characters love and die in blank verse. So also the modern detective novelist almost inevitably writes a last chapter containing a speech of lengthy explanation such as no detective would ever really make.

The following extracts show the variety of speech in Wuthering Heights, from Joseph’s broad dialect to Heathcliff’s self-revelation. Note that only Joseph, and not his fellow-servants, is represented semi-phonetically— Zillah, for example, would speak just like him. There is no clear boundary between realism and formalism; these pieces show how they may shade into one another. This is part of an interview which takes place shortly after Heathcliff has returned to the Heights, after his runaway marriage with Isabella. Nelly has come to the Heights and found them both in: Heathcliff is speaking.

10

Tell your master, Nelly, that I never, in all my life, met with such an abject thing as she is—She even disgraces the name of Linton; and I’ve sometimes relented, from pure lack of invention, in my experiments on what she could endure, and still creep shamefully cringing back! But tell him also, to set his fraternal and magisterial heart at ease, that I keep strictly within the limits of the law—I have avoided, up to this period, giving her the slightest right to claim a separation; and what’s more, she’d thank nobody for dividing us—if she desired to go she might—the nuisance of her presence outweighs the gratification to be derived from tormenting her! ’

‘Mr. Heathcliff,’ said I, ‘this is the talk of a madman, and your wife, most likely, is convinced you are mad; and, for that reason, she has borne with you hitherto: but now that you say she may go, she’ll doubtless avail herself of the permission—You are not so bewitched, ma’am, are you, as to remain with him, of your own accord?’

Take care, Ellen!’ answered Isabella, her eyes sparkling irefully—there was no misdoubting by their expression, the full success of her partner’s endeavours to make himself detested. ‘Don’t put faith in a single word he speaks. He’s a lying fiend, a monster, and not a human being! I’ve been told I might leave him before; and I’ve made the attempt, but I dare not repeat it! Only, Ellen, promise you’ll not mention a syllable of his infamous conversation to my brother or Catherine¹—whatever he may pretend, he wishes to provoke Edgar to desperation—he says he has married me on purpose to obtain power over him; and he shan’t obtain it—I’ll die first! I just hope, I pray that he may forget his diabolical prudence, and kill me! The single pleasure I can imagine is to die, or to see him dead!’

There—that will do for the present! ’ said Heathcliff. ‘If you are called upon in a court of law, you’ll remember her language, Nelly! And take a good look at that countenance—she’s near the point which would suit me. No, you’re not fit to be your own guardian, Isabella, now; and I, being your legal protector, must retain you in my custody, however distasteful the obligation may be— Go upstairs; I have something to say to Ellen Dean, in private. That’s not the way—upstairs, I tell you! Why, this is the road upstairs, child!’

He seized, and thrust her from the room; and returned muttering,

‘I have no pity! I have no pity! The more the worms writhe, the more I yearn to crush out their entrails! It is a moral teething, and I grind with greater energy, in proportion to the increase of pain.’

‘Do you understand what the word pity means ? ’ I said, hastening to resume my bonnet. ‘Did you ever feel a touch of it in your life?’

Put that down!’ he interrupted, perceiving my intention to depart. ‘You are not going yet—Come here now, Nelly—I must either persuade, or compel you to aid me in fulfilling my determination to see Catherine, and that without delay—I swear that I meditate no harm; I don’t desire to cause any disturbance, or to exasperate, or insult Mr. Linton; I only wish to hear from herself how she is, and why she has been ill; and to ask, if anything that I could do would be of use to her. Last night, I was in the Grange garden six hours, and I’ll return there tonight; and every night I’ll haunt the place, and every day, till I find an opportunity of entering. If Edgar Linton meets me, I shall not hesitate to knock him down, and give him enough to ensure his quiescence while I stay—If his servants oppose me, I shall threaten them off with these pistols—But wouldn’t it be better to prevent my coming in contact with them, or their master? And you could do it so easily! I’d warn you when I came, and then you might let me in unobserved, as soon as she was alone, and watch till I departed—your conscience quite calm, you would be hindering mischief.’

I protested against playing that treacherous part in my employer’s house; and besides, I urged the cruelty and selfishness, of his destroying Mrs. Linton’s tranquillity, for his satisfaction.

‘The commonest occurrence startles her painfully,’ I said. ‘She’s all nerves, and she couldn’t bear the surprise, I’m positive—Don’t persist, sir! or else, I shall be obliged to inform my master of your designs, and he’ll take measures to secure his house and its inmates from any such unwarrantable intrusions! ’

‘In that case, I’ll take measures to secure you, woman! ’ exclaimed Heathcliff, ‘you shall not leave Wuthering Heights till to-morrow morning.’

Wuthering Heights, ch. 14

*

This describes the younger Catherine’s first appearance downstairs after recovering from the death of her boy-husband Linton. Zillah speaks.

11

‘Joseph and I generally go to chapel on Sundays/ (the Kirk², you know, has no minister, now, explained Mrs. Dean; and they call the Methodists’ or Baptists’ place, I can’t say which it is, at Gimmerton, a chapel). ‘Joseph had gone,’ she continued, ‘but I thought proper to bide at home. Young folks are always the better for an elder’s over-looking, and Hareton with all his bashfulness isn’t a model of nice behaviour. I let him know that his cousin would very likely sit with us, and she had been always used to see the Sabbath respected, so he had as good leave his guns, and bits of indoor work alone, while she stayed.

‘He coloured up at the news; and cast his eyes over his hands and clothes. The trainoil and gunpowder were shoved out of sight in a minute. I saw he meant to give her his company; and I guessed, by his way, he wanted to be presentable; so, laughing, as I durst not laugh when the master is by, I offered to help him, if he would, and joked at his confusion. He grew sullen, and began to swear.

‘Now, Mrs. Dean,’ she went on, seeing me not pleased by her manner, ‘you happen think your young lady too fine for Mr. Hareton, and happen you’re right—but, I own, I should love well to bring her pride a peg lower. And what will all her learning and her daintiness do for her, now? She’s as poor as you, or I—poorer—I’ll be bound, you’re saving—and I’m doing my little all, that road.’

Hareton allowed Zillah to give him her aid; and she flattered him into a good humour; so, when Catherine came, half forgetting her former insults, he tried to make himself agreeable, by the housekeeper’s account.

‘Missis walked in,’ she said, ‘as chill as an icicle, and as high as a princess. I got up and offered her my seat in the armchair. No, she turned up her nose at my civility. Eamshaw rose too, and bid her come to the settle, and sit close by the fire; he was sure she was starved³.

‘ “I’ve been starved a month and more,” she answered, resting on the word, as scornful as she could.

‘And she got a chair for herself, and placed it at a distance from both of us.

‘Having sat till she was warm, she began to look round, and discovered a number of books in the dresser; she was instantly upon her feet again, stretching to reach them, but they were too high up.

‘Her cousin, after watching her endeavours a while, at last summoned courage to help her; she held her frock, and he filled it with the first that came to hand.

‘That was a great advance for the lad—she didn’t thank him; still, he felt gratified that she had accepted his assistance, and ventured to stand behind as she examined them, and even to stoop and point out what struck his fancy in certain old pictures which they contained—nor was he daunted by the saucy style in which she jerked the page from his finger; he contented himself with going a bit farther back, and looking at her, instead of the book.

‘She continued reading, or seeking for something to read. His attention became, by degrees, quite centred in the study of her thick, silky curls—her face he couldn’t see, and she couldn’t see him. And, perhaps, not quite awake to what he did, but attracted like a child to a candle, at last, he proceeded from staring to touching; he put out his hand and stroked one curl, as gently as if it were a bird. He might have stuck a knife into her neck, she started round in such a taking.

‘“Get away, this moment! How dare you touch me? Why are you stopping there?” she cried, in a tone of disgust. “I can’t endure you! I’ll go upstairs again, if you come near me.”

‘Mr. Hareton recoiled, looking as foolish as he could do; he sat down in the settle, very quiet, and she continued turning over her volumes, another half hour—finally, Eamshaw crossed over, and whispered to me.

‘“Will you ask her to read to us, Zillah? I’m stalled⁴

of doing naught—and I do like—I could like to hear her! dunnot say I wanted it, but ask of yourseln.”

‘ “Mr. Hareton wishes you would read to us, ma’am,” I said, immediately. “He’d take it very kind—he’d be much obliged.”

‘She frowned; and, looking up, answered, ‘ “Mr. Hareton, and the whole set of you will be good enough to understand that I reject any pretence at kindness you have the hypocrisy to offer! I despise you, and will have nothing to say to any of you! When I would have given my life for one kind word, even to see one of your faces, you all kept off. But I won’t complain to you! I’m driven down here by the cold, not either to amuse you, or enjoy your society.”

‘“What could I ha’ done?” began Earnshaw. “How was I to blame?”

‘“Oh! you are an exception,” answered Mrs. Heath-cliff. “I never missed such a concern as you.”

‘ “But, I offered more than once, and asked,” he said, kindling up at her pertness, “I asked Mr. Heathcliff to let me wake for you—”

‘‘‘Be silent! I’ll go out of doors, or anywhere, rather than have your disagreeable voice in my ear!” said my lady.

‘Hareton muttered, she might go to hell, for him! and unslinging his gun, restrained himself from his Sunday occupations, no longer.

Wuthering Heights, ch. 30

*

This is Lockwood’s third visit to the Heights, two or three months later than extract 4, but still during his earlier stay in the district—i.e., in January, not the later September visit of extract 1. He speaks.

12

I approached her, pretending to desire a view of the garden; and, as I fancied, adroitly dropped Mrs. Dean’s note onto her knee, unnoticed by Hareton—but she asked aloud—

‘What is that?’ And chucked it off.

‘A letter from your old acquaintance, the housekeeper at the Grange,’ I answered, annoyed at her exposing my kind deed, and fearful lest it should be imagined a missive of my own.

She would gladly have gathered it up, at this information, but Hareton beat her; he seized, and put it in his waistcoat, saying M...

Table of contents

• Cover Page
• Half-Title Page
• Title Page
• Copyright Page
• Original Title Page
• Original Copyright Page
• Table of Contents
• Emily and anne bront ë —their life and work
• Scheme of extracts
• ‘Wuthering heights': the background of normal life
• The background of nature
• The inhabitants of ‘wuthering heights'
• Anne brontë's style
• The character of ‘wuthering heights'
• Emily bronte's narrative method
• The violence of ‘wuthering heights'
• Moralising in ‘wildfell hall'
• Speech in ‘wuthering heights'
• characterisation in emily brontë
• Characterisation in anne brontë
• Characterisation in emily brontë
• ‘agnes grey'
• Recurrent imagery in ‘wuthering heights': the supernatural
• The structure of ‘wuthering heights'
• Select bibliography