Form, structure, context and critics

The novel takes the form of a diary, indicated by the

opening date, 1801. This realism contrasts with the otherness of the events that take place within. A letter is used in the case of Isabella so that the reader can hear her voice, for once, and see what has happened to her in her absence. The majority of the narrative is in the feminine voice of Nelly, which feminist critics have seen as a comment on the underlying reliance of males on women.

 There is a dual narrative, with Lockwood recounting

Nellys retelling of the events. She too sometimes takes on the voice of other characters, by reading aloud Isabellas letter for example. This story-within-a-story structure is mirrored in the room-within-a-room of the oak cupboard in which Cathy sleeps, showing the complicated nature of the plot and relationships in the story. Empsons 1930 book Seven Types of Ambiguity argues that ambiguity, even in structure, is an essential part of storytelling.

 Brontes poetic language comes through in similes related to

the natural world: as different as a moonbeam from lightning, or frost from fire; my love for Heathcliff resembles the eternal rocks beneath. Pathetic fallacy is also extensively used to mirror the emotions of the characters; Catherines distress and Heathcliffs anger when he leaves are expressed in the weather when the storm came rattling over the Heights in full fury. Symbolism links Heathcliff with the wildness of nature; he foamed like a mad dog and howled ... like a savage beast. Imagery links Cathys emotions to the landscape, her humour a mere vane and experiencing seasons of gloom. Josephs Yorkshire dialect emphasises his disdain for change.

 The novel was published in 1847, just after what is

generally considered the Gothic era in literature. The book was published under the pseudonym of Ellis Bell, which reflects the attitudes to women of the time, and highlights the subversive nature of the female characters in their independence. Thrushcross Grange in its sophistication was seen by many to represent the Enlightenment, with the opposing Heights as Gothic passion and raw emotion.

 It has been suggested that Brontes relationship with

her brother, Branwell, was the basis for the Cathy/Heathcliff relationship who, arguably, could have been siblings. Branwell was also described as wild and reclusive. Bronte was undoubtedly influenced by the Yorkshire landscape in which she grew up, between a church and graveyard, and the moors. Brontes strict religious upbringing could be related to the negative portrayals of Joseph, and religion, in the text.

Bronte repeatedly ensures ... boundaries are crossed or broken A. Green Wuthering Heights deals with questions of moral, social, religious and personal doubt A. Green

Bronte relies to a significant extent upon the conventions of the Gothic genre A. Green

Heathcliff is an enigma Watts a man of a thousand contradictions A. Green a gentleman psychopath a sociopathic monster Sutherland the relationships ... are characterised by harshness and cruelty A. Green

It is a fiend of a book, an incredible monster D.G. Rossetti The story shows the brutalising influence of unchecked passion Brittania such a general roughness and savageness as never should be found in a work of art American Review

For the Victorians, Wuthering Heights was inarguably an immoral and uncivilised book C. Jones the frail and innocent Gothic stereotype is not a presence in the world of Wuthering Heights A. Green Wuthering Heights deals extensively with the issue of domestic violence. A. Green