Wuthering heights

3.1. An Account of the Plot
Emily Bronte does not tell her story in a simple way, she does not 
start at the beginning and take us straight through to the end. Instead, she 
begins almost at the climax of her tale. She wants to build up an atmo-
sphere ofmystery and suspense. She wants toawaken our curiosity about 
her strange, unfriendly characters. Only when we have been introduced to 
them can she allow Nelly Dean to explain why they are sobitter.
4. CRITICAL ANALYSIS 
The morality of this novel has been focus of interest, as have the na-
ture of its structure and aspects of its narrative arts. Charlote’s preface to 
the 1850 edition of the novel tries to explain Emily as well as apologiz
-
ing for her: this is because, Charlote reacted against critics who found 
the work distasteful or went so fast as to consider it “odiously and abom-
inably pagan” or “repellent” or “a fiend of a book” or found the charac
-
ters unattractive. She obviously had her doubts about the morality, saying, 
“Whetherit is right or advisabletocreate beings like Heathcliff. Charlote 
was far more tied do convention than she realized for the moral law which 
separates Jane from Rochester could not exist in the relationship ofCath-
erine Earnshaw, later Linton and Heathcliff. Cathy’s much quoted. Nely, I 
am Heathcliff” sufficiently underlines the difference, and Heathcliff stress
-
es it in his reactions and his force of will. When Cathy dies Heathcliff faces 
a life which is a kind of death until he wills himself to die, and he renews 

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120
Vision International Refereed Scientific Journal, Volume 1, Issue 1, September 2016
The Life Of Emily Brontë And Critical Analysis Of Her Masterpiece “Wuthering Heights”
his life with her beyond grave.
Emily’s artistic awareness and her strong structural sense have also re-
ceived their share of critical attention; one contemporary noted thenovel’s 
affluence of poetic life even pointing out theparallel between Ophelia’s 
madness in Hamlet and Cathy in her last illness, thus indicating the level 
of association and awareness to be found in the author. Others have found 
reminders of Greek tragedy in its form and concerns. The coherent struc-
ture of Wuthering Heights is seen in the neat and careful finishing off of 
everything.
In Wuthering Heights, the writers need to explore the depths of human-
passion and emotion has either forced or enabled her to avoid being over - 
concerned with the conventions of private and public morality. What peo-
ple are to themselves (particularly Cathy andHeathcliff) is more important 
to Emily than whether they must be judged bad or good by normal stan-
dards. The decision is left: to the reader whether or not to judge them on a 
moral ground, but the reader will find that if too much attention is paid to 
make judgments, more important considerations will be missed. Neither-
Cathy nor Heathcliff judge themselves, and any outraged judgments, made 
about them by others seen to slight to accommodate the case.
Emily Bronte’s novel stand apart and alone for a number of reasons, 
but pre-eminently because no other novelsapproach it in the richness of its 
embodiment of so many of the aspects of what we call human passion (ha-
tred, anger, love, lust, affection, revenge, envy,grief, frustration).It may be 
observed, as a last example of the qualities which give Wuthering Heights 
its status in the canon of Western novels, that it has that uncommon char-
acteristic in its style of writing that we call “inevitability”.