Wuthering heights

2. CONCEPTUALLY AND METHODOLOGICALLY
DETERMINATION
One of the most famous love stories in the English language, the 
passionate tale ofCatherine and Heathcliff is presented here and examined 
the qualities and reviews that make it such a powerful and compelling 
novel. The methodology of the study is based on the critical analysis 
referring the reviews of the style and Narrative art, the plot and the mein 
Wuthering Heights.
3. THE STYLE AND NARRATIVE ART IN WUTHERING 
HEIGHTS
Style and narrative art are linked in Wuthering Heights, for the voice 
andvocabulary of each of the narrationsdiffers as it should be expected and 
thus style is an index to character as well. Another aspect of style is the 
dialect of Joseph, seen to good effect in the religiosity and reiterative rages 
in which he indulges. He represents the other end of thesocial scale from 
Lockwood and thus instances the width and objectivity of Emily’s social 
and moral context. The major part of Emily’s style consists of graphic im-
mediacy, wherethe physicalpresenceof character is felt either through the 
heightened imaginative treatment or with a directly physical power like 
nothing else in fiction.
“In her eagerness she rose and supported herself on the arm of a chair.
At that earnest appeal, he turned to her, looking absolutely desperate. His 
eyes wide and wet at last, flashed fiercely on her: his breast heaved con
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vulsively. An instant they held a sounder:and then how they met I hardly 
saw, but Catherine made a spring and he caught her and they were locked 
in an embrace from which I thought my mistress would never bereleased 
alive. In fact, to my eyes she seemed directly insensible. He flunghimself 
into the nearest seat, and on my approaching hurriedly to ascertain if she 
had fainted, he gnashed at me and foamed like a mad dog, and gathered 
her to him with greedy jealousy. I did not feel as if I were in the company 
of creature of my own species: it appeared that he would not understand, 
though I spoke to him: so’ I stood off, and held my tongue, in great per
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plexcity”.(Chapter 15)
This is given in full because ittypifies Emily Bronte’s style in Wuther
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Vision International Refereed Scientific Journal, Volume 1, Issue 1, September 2016
Mr.sci. Arafat USEIN 
ing Heights and summarizes to the central method of that novel.It isdirect
graphic, simple, physical without sexuality, dramatic without melodrama, 
unique in the quality of its straight appeal to the senses and sympathies, 
it breaks rules of control and decorum; “foaming at the mouth” would be 
ridiculous in another context, or even bathetic, while here it further de-
fines the person of Heathcliff and the associations, we have with him. The 
passage trascends literary convention, despite the fact it is described by 
theconventional observer, Nelly Dean. Her mannered style almost a mark 
of her own gentility in being a member of the Linton household-contrasts 
effectively with the sheer force of what she is seeing. Her reaction reflects 
her bewilderment and her limitations: “approaching hurriedly to ascertain 
if she had fainted” are the words of the drawing-room, but the scene is un-
bearably emotional, too emotional for an observer to witness.