AnalysisofMajorCharactersinWutheringHeights呼啸山庄_英文介绍及赏析.pdf

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1、呼啸山庄Today, Wuthering Heights has a secure position in the canon of world literature, and Emily Bront? is revered as one of the finest writersmale or femaleof the nineteenth century. Like Charlotte Bront? s Jane Eyre, Wuthering Heights is based partly on the Gothic tradition of the late eighteenth ce

2、ntury, a style of literature that featured supernatural encounters, crumbling ruins, moonless nights, and grotesque imagery, seeking to create effects of mystery and fear. But Wuthering Heights transcends its genre in its sophisticated observation and artistic subtlety. The novel has been studied, a

3、nalyzed, dissected, and discussed from every imaginable critical perspective, yet it remains unexhausted. And while the novel s symbolism, themes, structure, and language may all spark fertile exploration, the bulk of its popularity may rest on its unforgettable characters. As a shattering presentat

4、ion of the doomed love affair between the fiercely passionate Catherine and Heathcliff, it remains one of the most haunting love stories in all of literature. Analysis of Major Characters in Wuthering Heights Heathcliff Wuthering Heights centers around the story of Heathcliff. The first paragraph of

5、 the novel provides a vivid physical picture of him, as Lockwood describes how his “ black eyes ” withdraw suspiciously under his brows at Lockwood s approach. Nelly s story begins with his introduction into the Earnshaw family, his vengeful machinations drive the entire plot, and his death ends the

6、 book. The desire to understand him and his motivations has kept countless readers engaged in the novel. Heathcliff, however, defies being understood, and it is difficult for readers to resist seeing what they want or expect to see in him. The novel teases the reader with the possibility that Heathc

7、liff is something other than what he seems that his cruelty is merely an expression of his frustrated love for Catherine, or that his sinister behaviors serve to conceal the heart of a romantic hero. We expect Heathcliff s character to contain such a hidden virtue because he resembles a hero in a ro

8、mance novel. Traditionally, romance novel heroes appear dangerous, brooding, and cold at first, only later to emerge as fiercely devoted and loving. One hundred years before Emily Bront? wrote Wuthering Heights, the notion that “ a reformed rake makes the best husband” was already a clich of romanti

9、c literature, and romance novels center around the same clich to this day. However, Heathcliff does not reform, and his malevolence proves so great and long-lasting that it cannot be adequately explained even as a desire for revenge against Hindley, Catherine, Edgar, etc. As he himself points out, h

10、is abuse of Isabella is purely sadistic, as he amuses himself by seeing how much abuse she can take and still come cringing back for more. Critic Joyce Carol Oates argues that Emily Bront? does the same thing to the reader that Heathcliff does to Isabella, testing to see how many times the reader ca

11、n be shocked by Heathcliff s gratuitous violence and still, masochistically, insist on seeing him as a romantic hero. It is significant that Heathcliff begins his life as a homeless orphan on the streets of Liverpool. When Bront? composed her book, in the 1840s, the English economy was severely depr

12、essed, and the conditions of the factory workers in industrial areas like Liverpool were so appalling that the upper and middle classes feared violent revolt. Thus, many of the more affluent members of society beheld these workers with a mixture of sympathy and fear. In literature, the smoky, threat

13、ening, miserable factory-towns were often represented in religious terms, and compared to hell. The poet William Blake, writing near the turn of the nineteenth century, speaks of England s “ dark Satanic Mills.” Heathcliff, of course, is frequently compared to a demon by the other characters in the

14、book.Considering this historical context, Heathcliff seems to embody the anxieties that the book s upper- and middle-class audience had about the working classes. The reader may easily sympathize with him when he is powerless, as a child tyrannized by Hindley Earnshaw, but he becomes a villain when

15、he acquires power and returns to Wuthering Heights with money and the trappings of a gentleman. This corresponds with the ambivalence the upper classes felt toward the lower classes the upper classes had charitable impulses toward lower-class citizens when they were miserable, but feared the prospec

16、t of the lower classes trying to escape their miserable circumstances by acquiring political, social, cultural, or economic power. Catherine The location of Catherine s coffin symbolizes the conflict that tears apart her short life. She is not buried in the chapel with the Lintons. Nor is her coffin

17、 placed among the tombs of the Earnshaws. Instead, as Nelly describes in Chapter XVI, Catherine is buried “ in a corner of the 呼啸山庄kirkyard, where the wall is so low that heath and bilberry plants have climbed over it from the moor. ” Moreover, she is buried with Edgar on one side and Heathcliff on

18、the other, suggesting her conflicted loyalties. Her actions are driven in part by her social ambitions, which initially are awakened during her first stay at the Lintons , and which eventually compel her to marry Edgar. However, she is also motivated by impulses that prompt her to violate social con

19、ventionsto love Heathcliff, throw temper tantrums, and run around on the moor. Edgar Just as Isabella Linton serves as Catherine s foil, Edgar Linton serves as Heathcliff s. Edgar is born and raised a gentleman. He is graceful, well-mannered, and instilled with civilized virtues. These qualities cau

20、se Catherine to choose Edgar over Heathcliff and thus to initiate the contention between the men. Nevertheless, Edgar s gentlemanly qualities ultimately prove useless in his ensuing rivalry with Heathcliff. Edgar is particularly humiliated by his confrontation with Heathcliff in Chapter XI, in which

21、 he openly shows his fear of fighting Heathcliff. Catherine, having witnessed the scene, taunts him, saying, “ Heathcliff would as soon lift a finger at you as the king would march his army against a colony of mice.” As the reader can see from the earliest descriptions of Edgar as a spoiled child, h

22、is refinement is tied to his helplessness and impotence. Charlotte Bront? , in her preface to the 1850 edition of Wuthering Heights, refers to Edgar as “ an example of constancy and tenderness,” and goes on to suggest that her sister Emily was using Edgar to point out that such characteristics const

23、itute true virtues in all human beings, and not just in women, as society tended to believe. However, Charlotte s reading seems influenced by her own feminist agenda. Edgar s inability to counter Heathcliff s vengeance, and his na?ve belief on his deathbed in his daughter s safety and happiness, mak

24、e him a weak, if sympathetic, characterThemes, Motifs Themes Themes are the fundamental and often universal ideas explored in a literary work. Moreover, Catherine and Heathcliff s love is based on their shared perception that they are identical. Catherine declares, famously, “ I am Heathcliff,” whil

25、e Heathcliff, upon Catherine s death, wails that he cannot live without his “ soul,” meaning Catherine. Their love denies difference, and is strangely asexual. The two do not kiss in dark corners or arrange secret trysts, as adulterers do. Given that Catherine and Heathcliff s love is based upon the

26、ir refusal to change over time or embrace difference in others, it is fitting that the disastrous problems of their generation are overcome not by some climactic reversal, but simply by the inexorable passage of time, and the rise of a new and distinct generation. Ultimately, Wuthering Heights prese

27、nts a vision of life as a process of change, and celebrates this process over and against the romantic intensity of its principal characters. As members of the gentry, the Earnshaws and the Lintons occupy a somewhat precarious place within the hierarchy of late eighteenth- and early nineteenth-centu

28、ry British society. At the top of British society was the royalty, followed by the aristocracy, then by the gentry, and then by the lower classes, who made up the vast majority of the population. Although the gentry, or upper middle class, possessed servants and often large estates, they held a none

29、theless fragile social position. The social status of aristocrats was a formal and settled matter, because aristocrats had official titles. Members of the gentry, however, held no titles, and their status was thus subject to change. A man might see himself as a gentleman but find, to his embarrassme

30、nt, that his neighbors did not share this view. A discussion of whether or not a man was really a gentleman would consider such questions as how much land he owned, how many tenants and servants he had, how he spoke, whether he kept horses and a carriage, and whether his money came from land or “ tr

31、ade ”gentlemen scorned banking and commercial activities. Considerations of class status often crucially inform the characters motivations in Wuthering Heights. Catherine s decision to marry Edgar so that she will be “ the greatest woman of the neighborhood” is only the most obvious example. The Lin

32、tons are relatively firm in their gentry status but nonetheless take great pains to prove this status through their behaviors. The Earnshaws, on the other hand, rest on much shakier ground socially. They do not have a carriage, they have less land, and their house, as Lockwood remarks with great puz

33、zlement, resembles that of a “ homely, northern farmer” and not that of a gentleman. The shifting nature of social status is demonstrated 呼啸山庄most strikingly in Heathcliff s trajectory from homeless waif to young gentleman-by-adoption to common laborer to gentleman again (although the status-conscio

34、us Lockwood remarks that Heathcliff is only a gentleman in “ dress and manners” ).生命列车 The Train Of Life 1. 不久以前，我读了一本书。书中把人生比作一次旅行。2. 人生一世， 就好比是一次搭车旅行， 要经历无数次上车、下车 ; 时常有事故发生 ; 有时是意外惊喜，有时却是刻骨铭心的悲伤 3. 降生人世， 我们就坐上了生命列车。 我们以为我们最 先 见 到 的 那 两 个 人-我们的父母，会在人生旅途中一直陪伴着我们。4. 很遗憾，事实并非如此。他们会在某个车站下车，留下我们，孤独无助。他们

35、的爱、他们的情、他们不可替代的陪伴， 再也无从寻找。5. 尽管如此， 还会有其他人上车。他们当中的一些人将对我们有着特殊的意义。6. 他们之中有我们的兄弟姐 妹 , 有我们的亲朋好友。我们还将会体验千古1. Not long ago, I read a book, in which a man s life was compared to a journey. 2. The life of a man is just like a hitchhiking ， during which many times we go up and down. Now and then things will

36、happen accidently, some of which are to be unexpected excitement ，while some heart-breaking sorrows. 3. When first embraced the world，we are already on the train of life. We take it for granted that the first two persons, our parents, whom we are encountered with, will accompany us all the way. 4. S

37、adly，things do not go on as we thought.Our parents will get off the train at a certain station ，leaving us, bereft and helpless.Their love and emotion to us and their irreplaceable company can be found in nowhere. 5. However ， there will be somebody else who will get on the train. Some of them will

38、have special meaning to us. 6. Some of them may be our siblings , relatives and friends, and we will also expereince the imperishable love. 7. Some of our travelling 呼啸山庄不朽的爱情故事。7. 坐同一班车的人当中，有的轻松旅行。8. 有 的 却 带 着 深 深 的 悲哀还有的 ,在列车上四处奔忙， 随时准备帮助有需要的人9. 很多人下车后， 其他旅客对 他 们 的 回 忆 历 久 弥新 但是，也有一些人，当他们离开座位时，却没有

39、人察觉。10.有时候，对你来说情深义重的旅伴却坐到了另一节车厢。你只得远离他，继续你的旅程。11.当然，在旅途中，你也可以摇摇晃晃地穿过自己的车厢，去别的车厢找他 12.可惜，你再也无法坐在他身旁，因为这个位置已经让别人给占了. 13.没关系。旅途充满挑战、梦想、希望、离别就是不能回头。因此，尽量使旅途愉快吧！14.善 待旅途上遇见的所有旅客，找出人们身上的闪光点。15.永远记住， 在某一段旅程companions are quite light-hearted on the way. 8. While some may bear immense sorrow.Still some ,back

40、 and forth, are ready to hold out their hands for others who need help. 9. Some people alight off the train, yet they are still kept in the mind of the other passengers for long;some, to the opposite, leave their seats without being noticed. 10. Sometimes, the one,who is dear to your heart, has hudd

41、led into another carriage. Nothing but one you can do is just to keep on going, far away from him. 11. Of course, during the journey, you may stagger to another carriage to look for him. 12. It s a pity that you will never seat yourself beside him because the seat has been engaged by others. 13. Nev

42、er mind. The journey is full of challenges,dreams, hopes and departures- but only one thing is that you cant turn back. So, have a good journey with heart and soul. 14. Show your good-will to all the passengers you are encountered with, and find the merits of theirs. 15. Remeber that someone may osc

43、illate just as we do in the journey. 呼啸山庄中，有人会犹豫彷徨，因为我们自己也会犹豫彷徨。16.我们要理解他人， 因为我们需要他人的理解。17.生命之谜就是： 我们在什么地方下车？坐在身旁的 伴 侣 在 什 么 地 方 下车？我们的朋友在什么地方下车？我们无从知晓 18.我时常这样想： 到我该下车的时候， 我会留恋吗？我想我还是会的。 和我的朋友分离，我会痛苦。让我的孩子孤独地前行，我会悲伤。我执著地希望在我们大家都要到达的那个终点站， 我们还会相聚 19.我 的孩子们上车时没有什么行李， 如果我能在他们的行囊中留下美好的回忆，我会感到幸福。20.我下车后

44、，和我同行的旅客都还能记得我，想念我，我将感到快慰。21.献给你 , 我生命列车上的同行者 , 祝您旅途愉快!16. We should understand others just as we need others understanding. 17. The enigma of life is：Where shall we get off the train of life?And how about the companions beside us?And our friends?We dont know.18. Sometimes I think ：When my time come

45、s to get off the train，shall I miss it？I think I will.It is a suffering when I part with my friends.I will be sorry for leaving my kids going alone.I firmly hold that when we get to the terminal ，we will have another reunion. 19. When my kids get on the train of life, they have only little luggage in their travelling bags. However,if I can leave the beautiful memory in them,I will be happy. 20. After getting off the train of life, I will be content if my fellow passengers will remember me and miss me. 21. To you , the companions on my train of life.May you have a good journey!