Promptly following the Romanticism era, and still with influences of the this era, came the rise of the age for Gothic literature. Gothic literature is defined by horror, mystery, with unexplainable dark forces. Found in gothic literature, dark tones are dramatized and expounded upon to further the forebode and malevolence. In the case of Emily Brontë ’s gothic publication, Wuthering Heights, there is no exception. To effectively portray the era’s compound of post-romanticism and gothicism of suspense, mystery, gloom, in Wuthering Heights, author Emily Brontë includes instances of detailing of dark settings, supernatural beings, and the emergence of a debatable heinous villain or of a Byronic hero.
Throughout the novel, from the point of view of Lockwood, a tenant of Thrushcross Grange, intricate details that all compound to contribute to a very eery setting. The novel centralizes around two mansions, Thrushcross Grange and Wuthering Heights. These two mansions are where all the main events of the story occur, thus, the characters of the novel are confined to these two locations. The physical locations of the mansions start to illustrate themes of gothicism as, gothic elements entail isolation. The fact that the two mansions sit apart from society paints a picture that what occurs at the mansions, are not of societal norms by any means. Events throughout the book make this evident that the actions of the characters residing at these estates do not conform to actions considered “normal”, thus, another aspect of gothicism that anything can happen, normal and abnormal. Upon his arrival, Lockwood notices that beyond the isolated residences, eery and unkempt “gaunt thorns (Brontë 4)” that “stretch[ed] their limbs as if craving alms of the sun (Brontë 4)”. Thorny vines alone are a very unwelcoming growth. It is sight for sore eyes. However, going further, Brontë personifies the thorny vines. She describes them as seeking out any source of growth and energy provided by their sun. The deprivation and lack of stimulation to live and thrive is ominous as it will later parallel the deprivation of the characters that reside at the estate, endure. Beyond nature, inside the house, there are parallels between the grand features of the house and Heathcliff, the house owner. Lockwood describes the floors “smooth (Brontë 5)” and of “white stone (Brontë 5)”. Adorned were “primitive structures (Brontë 5)” and gold trimmings bordered the ceilings. The elegant interior vastly contrasts the unkempt and growing exterior. Brontë adds mystery to not only why the interior and exterior contrasted each other, but how it came to be. Once more, this duality will further parallel the residents of the Grange and illustrate that looks can be deceiving. Something or someone might appear one way, outwardly, but in actuality after a deeper look inside, true intentions are revealed. Before even delving into the plot, Brontë has already succeeded at creating a sense of dread and unpleasantness to pretense the rest of the, if possible, darker novel.
Along with a foreboding setting, another crucial aspect of gothicism is made up of supernatural beings. Along with auspicious living characters interacting and creating the suspense, an elevated vehicle for such apprehension is through the form of supernatural creatures. The mere fact that such supernatural beings, ones that are pretend and can only exist in fantasies and not real life, are present in the novel, further illustrates the gothicism element in that anything can happen. This inclusion comes from the era’s fascination with celestial figures: ghosts, spirits, and oftentimes vampires. Things that don’t exist in reality are mysterious and so unknown to men, which is why it carries that mysterious weight. The message and what the supernatural being stands for in the story expounds upon that mysterious weight. Specifically to the novel, Lockwood’s slumber is interrupted by a branch tapping unceasingly at his window. Lockwood proceeds to solve the problem by pulling at the branch, however, to his surprise, his “fingers closed on the fingers of a little, ice-cold hand (Brontë 25)” belonging to a little girl that “sobbed (Brontë 25)”. Keeping in mind that Lockwood reached out at a tree tapping from the outside and instead, is met by a mysterious ice-cold figure. Brontë insinuates with these descriptions that the figure is a ghost. The sobbing of the figure connotes that she is in anguish. Lockwood inquires further to find out that the ghost is child Catherine Linton and she begs to be let in, having been “a waif for twenty years (Brontë 25)”. Having no background information of the past of the estates and its residents, this is all brand new news to Lockwood, him being an outsider as well. Lockwood having no understanding of all the information ghost Catherine is telling him, furthers the confusion and chaos. Just as Lockwood is questioning the relevance and if this happening is even in reality, and not just another dream just like the one he had prior, suspense is expounded upon. Many questions will be formulated that must be answered throughout the novel. The element of suspense brought about from the paranormal is influential to the novel. Said questions have been brought about and so many answers are applicable. The thrill of gothicism, once more, comes from the unknown. Instead of having an actual character present these questions, Brontë utilized a paranormal entity to reveal such mystery. At the conclusion of the novel, another instance of the paranormal exists. This time, with influences of romanticism. Brontë adequately ties in the aforementioned gothic element of supernatural with passion of romanticism. Romanticism is also defined by feverous regard for one’s true inner feelings and uncertainty of reciprocated love and deep emotion (Harris). Uncertainty and ambiguity also plays in well with gothic uncertainty and suspense of emotion. Nearing the end of the novel, Nelly, a character characterized by sense and nonsense, even veers into the supernatural when speaking of Heathcliff’s new demeanor, “Is he a ghoul, or a vampire? (Brontë 330)”. The fact that a character with such a distaste for the unexplained and favor for logic only, is likening Heathcliff to such supernatural beings, shows the extent to which Heathcliff has been acting out of character and norm. Shortly following her remarks, Heathcliff is found deceased in his room by Nelly as well. Heathcliff is buried next to Catherine. Symbolically, Heathcliff being reunited with Catherine in death mirrors sentiments of Romanticism and the undying love. “Til’ death do us part”. And in the instance of Heathcliff and Catherine, their love carries on well past death. Lockwood mentions that he has spoken to folks “who speak to having met him near the church, and on the moor, and even within this house (Brontë 336)” . Lockwood continues that some attest to seeing both Catherine and Heathcliff wandering the estate together. Brontë here insinuates the two reviving as ghosts to roam the property in which they grew up together and their love grew as well. Such mention of death and the nature of afterlife instead of ascending or descending into Christian ideals of heaven and hell, betray traditional values and surrender itself to gothic values of betrayal of said, traditional values. This combination of paranormal entities roaming in a fit of eternal passion beyond death goes to completely tie together gothicism and romanticism.
Throughout the whole novel, the plot is carried out effectively in unison with Brontë ’s use of character development. The further the novel progresses, through the actions and past actions of characters, more about said characters are revealed: their motives, intentions, desires. Controversially, there has been much talk in regard to the main character Heathcliff. Some claim him the antagonist of the novel, he also possesses, however, qualities of a Byronic hero, as such from the Romantic period. There is no dispute that Heathcliff is a complex character. His duality in character is evident from comparing his outward demeanor against his ulterior motives and actions of revenge, revealed later on in the novel. The makings of Heathcliff as a villain derives from solely his actions, without taking in account the motive and explanation for acting as such. In an altercation with Heathcliff, circumstances turned physical, “[Heathcliff] seized, and thrust [Isabella] from the room; and returned muttering—”I have no pity! I have no pity! (Brontë 150). From his dialogue, Heathcliff shows no remorse for battering Isabella. At first glance, this is essentially domestic violence. Heathcliff’s inability to control his temper that turns into physical rage is revealed here. In another instance, carrying out his revenge, Heathcliff prey’s upon Hindley’s weakness as Hindley excessively “took a pint of bottle of brandy (Brontë 76) and “gave himself up to reckless dissipation (Brontë 66).” Heathcliff encouraged this habit and eventually Hindley drank himself to death. Heathcliff’s disregard for Hindley’s life and encouraging Hindley’s addiction further characterizes Heathcliff as a man with disregard for human life for the sake of his ulterior motive. Heathcliff’s actions proved that he would do anything and go to great measures so as long as he achieved his own goal. The consideration of Heathcliff as a Byronic hero instead of a villain, derives from an examination of the reason of Heathcliff’s actions, and not just an analysis of the actions themselves.
The start of the rest of Heathcliff’s life and the reason for his living, could be marked at the second old Mr. Earnshaw essentially adopted orphan Heathcliff into the Earnshaw family and legacy. Heathcliff started out as an outsider: “a dirty, ragged, black-haired child (Brontë 36)” described as a “gypsy brat (Brontë 37). Heathcliff’s physical appearance and origins as an orphan starkly contrasts the wealthy upbringing of the blonde, well-raised, Earnshaw children. Heathcliff’s nonconformity to the normal outward appearance of society puts him apart from societal norms and what the Victorian people regarded as “acceptable” enough to be included or deemed worthy of status. As he grew older however, Heathcliff “has an erect and handsome figure; and rather morose (Brontë 5).” His transformation from a sad, pathetic youth, contrasts his evolution into a handsome, demanding man. A Byronic hero is attractive and simultaneously depressive and mysterious: shared qualities of gothic characters. Another aspect that makes Heathcliff considerable as a Byronic hero is that he is ruthless with purpose. Like aforementioned, Heathcliff, as a result of him being an outcast as a child and bullied by his own peers, relentlessly dedicated the rest of his life to wrecking havoc on others as form of revenge for his own abuse. It is not completely to his fault that Heathcliff bears such strong ill-will to Hindley and others as a result of their treatment towards him. The extent of the grudge proves to carry onto Hindley’s son, Hareton. Heathcliff exclaims in declaration of now possessing Hareton as his own, “Now, my bonny lad, you are mine! (Brontë 187)”. Just as Hindley had abused Heathcliff, to relinquish his own revenge and rage, Heathcliff will do the same onto Hareton, “And we’ll see if one tree won’t grow as crooked as another, with the same wind to twist it! (Brontë 187).” This declaration goes to show that this was all premeditated; Heathcliff carefully calculated such events to play out and was waiting for the perfect opportunity. A Byronic hero is considered with cunning wit and manipulative genius. For the most part, Heathcliff’s actions are misconstrued as entirely evil without the consideration of Heathcliff’s motives and reasoning for acting so cruelly. The question still remains why Heathcliff waited to bring wrath upon the second generation and not upon those who directly harmed him such as Hindley or Edgar. In an inspection of the novel and themes of revenge from author Thomas Vargish, Vargish suggests the second generation acted as “materials admirably suited for the distorted recreation of his own destiny, materials of great flexibility and significance (Vargish 13).
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