Emily Brontë - Wuthering Heights. The novel Wuthering Heights

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Heroes of Wuthering Heights

Wuthering Heights: First Generation Heroes

Heathcliff is a gypsy adopted by Mr. Earnshaw into his family and brought up as his son. Vengeful, embittered, cruel and stubborn. Was best friend Katherine and her lovers. Didn't get along with Hindley Earnshaw. He was married to Isabella Linton, in which he had a son, Linton.

Katherine Earnshaw is Mr Earnshaw's daughter, Hindley's sister. A spoiled and selfish girl, initially wild, and later quite refined. Loved Heathcliff but married Edgar Linton. She became mentally ill and died giving birth to a daughter, Katherine.

Hindley Earnshaw is Catherine's blood brother and Heathcliff's brother at his father's insistence. He hated the second one and after the death of his parent "lowered" him to a worker in Wuthering Heights, not allowing him to get an education. He was happily married to Frances, who died after giving birth to his son Hareton. After the death of his wife, he drank himself, and later lost his estate to Heathcliff. Jealous, vindictive, aggressive person. By the end of life - miserable and downtrodden.

Frances Earnshaw is Hindley's wife. Soft in nature, fragile. Died of consumption after childbirth.

Edgar Linton - friend, and then husband of Catherine Earnshaw, father of Catherine Linton. A patient young man, kind, gallant, well-mannered, sometimes stubborn.

Isabella Linton - Edgar Linton's sister and Heathcliff's wife, mother of the last Linton's son. Educated, educated, naive (before marriage). She married for love, turned out to be unhappy in these relationships and ran away from her husband.

Wuthering Heights: Second Generation Heroes

The heroes of Wuthering Heights Katherine Linton is the daughter of Katherine and Edgar Linton. Educated, kind, responsive. She was forced to marry Linton, whom she did not love. She lost the Starling Manor because of Heathcliff, but after his death she returned it. In the end, she found happiness with Harton.

Hareton Earnshaw is Hindley's son, raised by Heathcliff after his father's death. Dedicated, grateful. Like Heathcliff in his youth, uneducated and rough. Fell in love with the widowed Katherine Linton.

Linton Heathcliff is the son of Isabella Linton and Heathcliff. Until the death of his mother he lived with her, after he went to his father. Under pressure from Heathcliff, he married Katherine Linton. Weak, cowardly. Painful - died shortly after his wedding.

Other Wuthering Heights characters

Nellie (Ellen Dean) - according to the plot of "Wuthering Heights", a former servant in Wuthering Heights, after housekeeper in Starling Manor. Forced keeper of the secrets of the Earnshaw and Linton family, a participant in many events. AT different time was on relatively friendly terms with the two Catherine and Heathcliff.

Joseph is a servant in Wuthering Heights. Served under Earnshaw and under Heathcliff. Grumpy, pious, stupid.

Zeela is the housekeeper at Heathcliff Manor.

Lockwood is a Londoner renting Starling Grange from Heathcliff. Visited the owner of the estate and once spent the night in Wuthering Heights.

Mr Kenneth is a doctor. Treated Katherine, Edgar, Francis.

The writing

Wuthering Heights reproduces a picture of life in 1847. With all the lightness and ease of the narrative, with all the natural complexity of family ties between the characters, Wuthering Heights is a very skillfully constructed book in which the technical problems of composition are thought out in the most thorough way. The central core of the work is the story of the relationship between Catherine and Heathcliff. This story goes through four stages. The first part, ending with a visit to Starling Grange, tells of the birth of a spiritual bond between Katherine and Heathcliff and their joint rebellion against Hindley and the regime he established on Wuthering Heights. The second part is about Katherine's betrayal of Heathcliff - this part ends with Katherine's death.

Rebellious, they discover that they need each other, that they are drawn together by a deep and ardent affection. As a girl, Katherine, though capricious, was kind and affectionate; she is touchingly connected to Heathcliff, her playmate and protector. Heathcliff, rejected by everyone, reaches out for a lively, spiritual and fearless girl who is for him the only soul in the world, treating him with human understanding and offering him her friendship. And Katherine, who by her origins belongs to the world of Wuthering Heights, feels that in order to fully express her humanity, to be true to herself to the end, she must unconditionally take the side of Heathcliff in the rebellion that he raises against the tyranny of Earnshaw and everything, what is connected with it. This rebellious speech immediately, almost from the very beginning of the book, makes us feel sympathy for Heathcliff. Understanding what he stands for human dignity we take his side. Heathcliff is bred to be an active and intelligent person, capable of fighting for positive human ideals.

The action of the novel takes place in the wilderness of Yorkshire - at the Wuthering Heights farm of the Earnshaw squires and at the estate of Starling Grange of the hereditary judge Linton. For many years, these families were good neighbors, until fate brought them together with a "stranger" - Heathcliff, who brought them ruin and death. Having reflected in the novel a very real process of redistribution of property, the writer romanticized its cause, gave it an understandable form of revenge for desecrated love, for humiliated human dignity.

Only later is it discovered that by rejecting Heathcliff, she chose death. However, it is characteristic that E. Bronte considers not only Edgar Linton, but also all those who pushed Catherine to treason, who raised her frivolous and conceited, who kept Heathcliff himself in ignorance, humiliated and created an impassable chasm between him and his love. She blames society for Heathcliff's misfortune.

He is a conscious rebel. It is in the joint participation of Heathcliff and Catherine in the rebellion that the special feeling that binds them begins. It is thanks to their joint rebellion that each of them realizes in the depths of his soul that a betrayal of what binds them would, for some obscure and mysterious reason, be a betrayal of everything in the world, a betrayal of highest values human life. However, the good things in Heathcliff, his love for Katherine Earnshaw, are irreparably damaged when Katherine betrays Heathcliff and marries Edgar Linton, fooling herself into thinking she can keep both to herself.

Upon learning that Catherine is dying, Heathcliff exclaims: “I cannot live without my life! I can't live without my soul!" Every reader understands that we are talking about an intimacy deeper than sexual desire, a feeling stronger than romantic love. This feeling was tempered in a joint rebellion. In order to correctly understand the concrete and romantic essence of Bronte's work, it is alien to recall the nature of the aforementioned rebellion and turn to the main characters of Wuthering Heights. A huge impact the works of the romantics Byron and Shelley had on E. Bronte, their heroes, fighters against injustice and violence, were close and understood to her. She makes the main character of her novel a personality similar to the heroes of Byron's romantic poems. Heathcliff's characterization is dominated by romantic traits. This figure is gloomy and sinister. One can only speculate about its origin. In childhood - "although he was not bad-looking, and not offended by reason, he managed to give the impression of something repulsive."

And then the writer constantly emphasizes the demonic beginning in his appearance. He is “black, as if born of the devil”, his “eyebrows are sullenly frowning”, etc. He is alone, at enmity with the whole world; no one ever said about him good word, on the contrary - “hard as a millstone, and toothy as a saw,” others say about him. Even Katherine, who loves him, believes that this is "a fierce, ruthless person, a man of a wolf disposition." As a true romantic hero, he is endowed with strong feelings - an ordinary person could not stand his suffering; the cause of his destructive hatred is trampled love, an offended sense of human dignity. Katherine and Heathcliff are not some romantic dreamers building castles in the air. They rebel against the regime in which Hindley and his wife indulge in stupid idleness, while they have to go into the recess under the shelves and are forced to read the soul-saving book "Straight Road to Perdition" under the supervision of the hypocritical saint Joseph. Katherine and Heathcliff rebel against this injustice that humiliates their human dignity.

The third part tells of Heathcliff's revenge, and the final part tells of Heathcliff's change and his death. Even in the last two parts, which take place after Catherine's death, the relationship between Catherine and Heathcliff is still the dominant theme underlying everything that happens. It is not easy to determine with any precision the nature of the feeling that binds Catherine and Heathcliff. Contrary to the statements expressed at times, Emilia Bronte was not afraid to describe carnal love; the scene preceding Catherine's death is a sufficient indication that Catherine and Heathcliff are bound by anything other than platonic passion. Catherine, who had just given her consent to marry Linton, is trying to tell Nellie about her feelings in this way: “Heathcliff’s sorrows were my great sorrows: I watched them all, experienced everything from the very beginning! My big soul in life is he and he. If everything else perishes, and he remains, I will not yet disappear from existence; if everything else remains, then it will not be, the universe will turn into something huge and alien for me, and I will no longer be a part of it ... love for Linton is like foliage in a forest: I know that time will change it, as winter changes trees. My love for Heathcliff is like eternal stone layers in the bowels of the earth. It is a source that does not give obvious pleasure, but it is necessary. Nellie, I am Heathcliff! He is always, always in my thoughts: not as joy and not as someone for whom I rejoice more than for myself - but as my whole being.

bronte roman storm heights

Emmy Bronte describes the story of a very unusual, non-traditional love between two people - absolute romantic heroes who are filled with passions and cannot follow the usual dogmas of behavior. Their decisions and actions are completely unexpected, and sometimes not clear to others. Even finding Catherine in a dying state, Heathcliff's temper and outright cruelty do not give up. By rejecting possible traditional solutions suggested by the episode's setting, the author lends this scene a truly amazing moral force. Heathcliff, who finds Catherine near death, is merciless to her, morally merciless; instead of words of consolation, he expresses with cruel frankness to the dying woman his assessment of her actions. The relationship between Catherine and Heathcliff, which reflects a desire for more humanity and more moral depth than the moral norms of the world of Lintons and Earnshaws can contain, must be tested by Heathcliff here. Any half-truth, any attempt to circumvent the burning questions in question, or soften their sharpness, would spoil the whole thing, would be unworthy of the heroes of the book. Heathcliff knows that one thing and only one can give Catherine peace of mind, which can no longer be saved from death by any means: a complete and completely honest awareness of the essence of the bonds that bind them, the acceptance of both these bonds and everything that stands behind them. Neither persuasion, nor a deal with conscience would give hope for peace of mind.

Instead of remorse before his death, Heathcliff demands: “No priest needs to come, and no funeral speeches are needed: I tell you, I have almost reached my sky. The sky of others I do not put in anything and I do not bother about it. And the writer does not condemn her hero. The deity of Heathcliff is his love: “I can’t even look under my feet, so that her face does not appear here on the floor slabs. It is in every cloud, in every tree - it fills the air at night, it appears in the outlines of objects during the day - her image is everywhere around me! These words echo Shelley's pantheism.

However, as the writer shows, it is not in this act of Katherine that the tragic contradiction between man and society lies - no one forcibly passed Katherine off as Linton. The point here is different: the surrounding society created the duality of her soul, deprived her character of integrity and thereby deprived her of the opportunity to be happy. Her words: “If Heathcliff and I get married, will we be beggars? And if I marry Linton, I will get the opportunity to help Heathcliff rise ... ”- and they are naive, and at the same time they already sound bourgeois prudence, the ability to compromise. Her very feeling is poisoned and crippled: love in it merges with hatred, the joy of a brief meeting is overshadowed by the grief of separation, the cruelty of circumstances makes her cruel herself. The most terrible result and betrayal is loneliness. And Heathcliff, tormented by his impotence to help her, says: “Oh, I know, she is among you, as in hell! .. How could she not be hurt, damn it, in her terrible loneliness?” Here the author opens up possibilities: either Catherine will reject Heathcliff on her deathbed, the sacred bonds of marriage will remain inviolable and vice will get what it deserves; Or true love will prevail.

The writer makes an attempt to oppose the official religion with some other, new one, in which they worship not a god who is insensitive and deaf to human suffering, but a man whose image merges with immortal nature. But E. Bronte does not stop there. Before us appears a new love story - Katie and Hareton. If Katherine Earnshaw, this rebellious, rebellious soul, impulsive and tragically broken woman, so unlike the meek and benevolent heroines of the stereotypical English novel and in many ways similar, rather, to her lover, whose tragedy and guilt is that she, in the expression Heathcliff, “betrayed her own heart”, exchanged sincere love for a childhood friend for wealth and position in society, dies, tortured by remorse, her daughter atones for her mistake. Emilia Bronte has unlimited faith in a person, so this evolution of the novel is natural and it is no coincidence that the relationship between Katie and Hareton is introduced into the plot.

Any such manifestation of weakness would be humiliating to the dignity of both, would mean that their lives were lived in vain and that nothing could be changed on the verge of death. Heathcliff and Catherine, who does not want to be buried among the Lintons, under the vaults of the church, and rejects the comforts of Christianity, realize that their relationship is more important than death itself. The end of the story of Katherine and Heathcliff is more fabulous, folklore than mystical. Dooming his heroine to the afterlife, E. Bronte seeks to punish her as much as possible. At the same time, Catherine's wanderings after death, and especially the appearance of Catherine's spirit at the window of her girl's bedroom, symbolically reveal the idea of the impossibility of human happiness in the bourgeois world. Therefore, one can hardly speak of the desire of E. Bronte to give the novel a religious and mystical character. Wuthering Heights is replete with attacks not only against the church and priests, but also against religion itself. A long and boring sermon (in the scene of Lockwood's dream) ends in a general brawl in the church. Catherine and Heathcliff themselves, absorbed in love, worry little about Christian duty. Katherine promises Heathcliff: "Let me be buried twelve feet in the ground and the church brought down on my grave, I will not rest until you are with me!"

The heroes of the novel, Hintcliff and Katherine, reject the universally recognized norms of bourgeois morality - the climax here is the scene of Katherine's death. It would seem that the whole situation of the action pushes the novelist on the path of solving this scene in the traditional melodramatic canons. Katherine is about to die, and out of the darkness of the night comes Heathcliff. The death throes of the heroine are revenge for desecrated love. Katherine "betrayed her own heart", was seduced by the wealth and beauty of Edgar Linton, wanted to become "the first lady in the district."

Rebellious, they discover that they need each other, that they are drawn together by a deep and ardent affection. As a girl, Katherine, though capricious, was kind and affectionate; she is pathetically connected to Heathcliff, her playmate and protector. Heathcliff, rejected by everyone, reaches out to a lively, inspired and fearless girl, who is for him the only soul in the world, treating him with human understanding and offering him her friendship. And Katherine, who by her origins belongs to the world of Wuthering Heights, feels that in order to fully express her humanity, to be true to herself to the end, she must unconditionally take the side of Heathcliff in the rebellion that he raises against the tyranny of Earnshaw and everything, what is connected with it. This rebellious speech immediately, almost from the very beginning of the book, makes us feel sympathy for Heathcliff. Understanding that he defends human dignity, we take his side. Heathcliff is bred to be an active and intelligent person, capable of fighting for positive human ideals.

He is a conscious rebel. It is in the joint participation of Heathcliff and Catherine in the rebellion that the special feeling that binds them begins. It is thanks to their joint rebellion that each of them realizes in the depths of his soul that a betrayal of what binds them would, for some obscure and mysterious reason, be a betrayal of everything in the world, a betrayal of the highest values of human life. However, the good things in Heathcliff, his love for Katherine Earnshaw, are irreparably damaged when Katherine betrays Heathcliff and marries Edgar Linton, fooling herself into thinking she can keep both to herself.

Upon learning that Catherine is dying, Heathcliff exclaims: “I cannot live without my life! I can't live without my soul!" Every reader understands that we are talking about an intimacy deeper than sexual desire, a feeling stronger than romantic love. This feeling was tempered in a joint rebellion. In order to correctly understand the concrete and romantic essence of Bronte's work, it is alien to recall the nature of the aforementioned rebellion and turn to the main characters of Wuthering Heights. The works of the romantics Byron and Shelley had a great influence on E. Bronte; their heroes, fighters against injustice and violence, were close and understood to her. She makes the main character of her novel a personality similar to the heroes of Byron's romantic poems. Romantic features predominate in Heathcliff's characterization. This figure is gloomy and sinister. One can only speculate about its origin. In childhood - "although he was not bad-looking, and he was not offended by reason, he managed to give the impression of something repulsive."

And then the writer constantly emphasizes the demonic beginning in his appearance. He is “black, as if born of the devil”, his “eyebrows are sullenly frowning”, etc. He is alone, at enmity with the whole world; no one has ever said a kind word about him, on the contrary - “hard as a millstone, and toothy as a saw,” others say about him. Even Katherine, who loves him, believes that this is "a fierce, ruthless person, a man of a wolf disposition." As a true romantic hero, he is endowed with strong feelings - an ordinary person could not stand his suffering; the cause of his destructive hatred is trampled love, an offended sense of human dignity. Katherine and Heathcliff are not some romantic dreamers building castles in the air. They rebel against the regime in which Hindley and his wife indulge in stupid idleness, while they have to go into the recess under the shelves and are forced to read the soul-saving book "Straight Road to Perdition" under the supervision of the hypocritical saint Joseph. Katherine and Heathcliff rebel against this injustice that humiliates their human dignity.

Catherine Linton is the daughter of Catherine and Edgar Linton. Educated, kind, responsive. She was forced to marry Linton, whom she did not love. She lost the Starling Manor because of Heathcliff, but after his death she returned it. In the end, she found happiness with Harton.

Heathcliff hates her. Despite all attempts at revenge by Heathcliff, she eventually marries her true love Harton Earnshaw, thus restoring harmony in the three families.

Although she is the daughter of Katherine Earnshaw, she is more reminiscent of her father Edgar: the girl has Linton's white skin, delicate features and flaxen curly hair. The only qualities she inherits from her mother are Earnshaw's beautiful dark eyes (which also belong to her future husband Hareton) and her wayward, brash spirit. At first, Katie is soft and meek, a little spoiled. However, while living in Wuthering Heights, she becomes cold, aloof, and dismissive. Only love for Hareton revives her liveliness.

She is a kinder and kinder version of her mother, thanks in large part to her relationship with Edgar, who is an exceptionally loving father. Though she can be irritable and even arrogant at times, Kathy's generosity and kindness to Hareton is a testament to her compassion and selflessness that her mother never had.

Describing Cathy and Harton, E. Bronte constantly emphasizes that they are healthy young people full of strength and energy. Kathy in childhood is a beauty, very lively, with a great sense of fantasy, a poetic nature, sensitive to everything beautiful; she is familiar with strong feelings, but unlike her mother, she has a softer character. Little Katie listens more to the voice of feeling, although she has already managed to imbue the caste prejudices of her environment. When she turns away with disdain from Hareton, having learned that he is a farmhand in the Heathcliff house, her haughty mother seems to come to life again, and it seems that the tragedy of trampled young love is destined to repeat itself. But in Katie's soul, a bright humanistic principle prevails.

The fact that Cathy and Hareton did not lose their human nature, poured out, thanks to alienation from their circle to which they belonged by birth, to survive in the poisoned atmosphere of the struggle of self-interest, considerable merit belongs to the housekeeper Nellie Dean. Entirely entrusted to the care of this simple woman, Katie grows up friendly and sensitive to people. Having lost her father and found herself all alone in Heathcliff's house among indifferent and cruel people, she withdraws into herself, becomes restrained and adamant. She responds to beatings and rudeness with icy contempt, disobedience and insolence, because only in this way can she protect her human dignity. Katie did not let herself be overcome by loneliness and despair, as her mother was broken: she was able to resist the malice and cruelty of Heathcliff, which was facilitated by her rapprochement with Hareton, whose first and only teacher was Nellie, who put into him that good beginning that did not allow Heathcliff ruin the young man to the end. Hareton appears to readers for the first time as rude, slovenly, impudent and uncouth.

At the same time, he is “a young strong man, handsome in appearance, strong and healthy”; he is not stupid, there is not even a shadow of fearful compliance in him. In Heathcliff's vengeful plans, Hareton plays an important role: humiliating Hareton in every possible way, driving him into a "quagmire of coarseness and ignorance", teaching him "to despise as weakness and stupidity everything that elevates a person above an animal", Heathcliff takes revenge on those who oppressed him in childhood . But at the same time, he never goes beyond the law, all his crimes are beyond jurisdiction.

Making Heathcliff regret that he was not "born in a country where the laws are not so strict", E. Bronte throws an accusation in the face of bourgeois society with its "legal" crimes. Heathcliff, seeing the birth of Kathy and Hareton's love, begins to understand little by little the reasons for the failure of his revenge. Heathcliff fails to deprive Hareton of pride and vanity. Cathy managed to turn Hareton from an enemy into a friend, warmed him with the warmth of her humanity; taught to read and write and convinced of the need to resist violence and evil. In the novel, Cathy and Hareton are by no means a simple re-creation of the former Catherine and Heathcliff in a new guise, they are, as J. Klingopoulos notes in his critical essay on Wuthering Heights, completely different people, even more small people, and, of course, people who are not endowed with such strong passions as Katherine and Heathcliff. Nevertheless, they symbolize the continuity and continuity of life and human aspirations. Looking at them, Heathcliff begins to realize the futility of his triumph.

At the moment when Hareton, who loves him selflessly, Heathcliff, comes to Cathy's aid after Heathcliff hit her, the latter is reminded of the feeling that connected him with Catherine, in all its depth, and it comes to his consciousness that in Cathy's love and Hareton has something of the same feeling. The turning point comes as Cathy and Hareton begin to bond in order to jointly rise up against Heathcliff's tyranny. Now, for the first time, Heathcliff is faced not with people who accept the values of Wuthering Heights and Starling Grange, but with rebels who share, if only in part, his own frantic efforts to achieve his rights. The path of Cathy and Hareton is the path of active defense of human dignity, love, friendship and the unity of people united by the highest human interests. The former violent fury withered in Heathcliff's soul. He became convinced of the senselessness of the struggle he waged in revenge for his trampled human dignity, the struggle against the world of those in power and proprietors, in which he chose the values of this world as instruments of revenge.

Just as Catherine was forced to fully realize the full moral horror of the betrayal of her love, so he, Heathcliff, must also understand the full horror of his own betrayal of his human essence. Now, facing the harsh truth, he can die, if not as a triumphant winner and a noble hero, but, in any case, as a person, thus giving Cathy and Hareton the opportunity to continue the struggle he started. In his death, he regains human dignity. It is this rediscovery of human worth, Heathcliff's discovery of the essence of his delusions - and help not from the side of the world he despise - and the depiction of the growing feeling of love between Cathy and Hareton, evoking a sense of the continuity and continuity of life in the cycle of nature, that give the last pages of "Thunderstorm" pass” optimistic sound, create an atmosphere of real, alien to sentimental hope. The love of Catherine and Heathcliff is restored in its rights. Life goes on, and already others in turn will rise up against the oppressors. Most importantly, we have grasped the essence of the feeling that binds Catherine and Heathcliff.

Their love, which Heathcliff, without in the least falling into idealism, calls immortal, is something more than the love of which the individualist dreams and which boils down to the fusion of the souls of those who love. The love of Catherine and Heathcliff suggests that a person, if he prefers life to death, must rise up against everything that destroys his cherished aspirations and aspirations, about the need for all people, united, to strive to achieve the highest humanity. Catherine, in response to this deep need of the human soul, rebels with Heathcliff, but, having married Edgar ("good party"), she changes her human nature.

Heathcliff, taking revenge on the tyrants and accepting their own norms, reveals the inhuman essence of these norms, but at the same time he also betrays his human essence and destroys his spiritual connection with the deceased Catherine, whose ghost wanders in horror and despair among the heather thickets. Only after a change is made with Heathcliff and he again, with the help of Hareton (and therefore, ultimately, with the help of Catherine herself) recognizes that it is necessary to be human in the broadest sense of the word, Catherine ceases to suffer and their former spiritual relationship is being restored.

In Wuthering Heights, death has no of great importance- after all, we are talking about things more significant than the life and death of an individual person. Moreover, Heathcliff's death, as well as Catherine's death, is a kind of victory, because in the end both meet death honestly, true to their humanity. Nothing in Brontë's novel, however, suggests that death in itself is a victory. Life affirms itself in it, unceasing, blossoming again and again.

Year of publication of the book: 1847

Wuthering Heights by Emily Brontë is the only prose work by the famous English poetess. The work takes pride of place in the list of the best books according to the British company BBC. Based on the novel Wuthering Heights by Emily Bronte, several feature films. The latest was the British-made arthouse film of the same name, which was released in 2011.

Wuthering Heights novel summary

The action of Bronte's novel Wuthering Heights begins with Mr. Lockwood arriving at an old estate called Starling Grange. He decides to take a break from noisy parties and constant trips and be alone for a while. For some time, Mr. Lockwood settled in a new place, after which he decided to get acquainted with his landlord, Squire Heathcliff. To do this, as in he decides to pay a visit to the owner of the estate called Wuthering Heights. He hopes to meet an interesting and friendly interlocutor. However, everything turns out to be completely different. Already from the first seconds of meeting Mr. Lockwood understands that even though Heathcliff looks like a gentleman in the manner of communication, he is a very reserved and cruel person. Outwardly, the squire looked like a gypsy, and his house resembled a dark and harsh cave.

Despite the fact that the acquaintance was not what the London gentleman had imagined, he decides to pay a second visit to Wuthering Heights. On the way to the estate, the weather turned bad, and heavy snow began to fall. When he reached Wuthering Heights, Lockwood realized that they did not want to open the doors for him. He also understands that getting to the Starling Manor will be quite problematic, so after several attempts he still gets into the house. There he meets Heathcliff, already familiar to him, and introduces himself to the servant of his landlord, Joseph. If Bronte's novel "Wuthering Heights" download , then we learn that a little later he notices beautiful girl who behaved very unfriendly. The young lady's name is Katherine Heathcliff, and she is the daughter-in-law of the old owner of the estate. Not far from her sat Hareton Earnshaw. He was a little older than Catherine, but Mr. Lockwood did not understand who the young man was Heathcliff.

Lockwood observes for a long time the relationships that reign between all those present, and understands that there is no smell of goodwill here. He decides to leave Wuthering Heights and asks to be escorted to Starling Grange. However, Heathcliff abruptly refuses the request and leaves. Mr. Lockwood does not want to travel back along the snow-swept paths, so he accepts the offer of a housekeeper named Zilla to spend the night in Wuthering Heights. In Emily Bronte's Wuthering Heights, we can read that a woman takes him to a room in which apparently no one lives. Lockwood can't sleep for a long time and decides to look around a bit. He finds the diary of a girl named Katherine Earnshaw, which describes the childhood of Katie and Heathcliff. The gentleman reads a few pages of the notebook for a while and falls asleep. In the middle of the night, he has a terrible dream in which the ghost of the late Catherine Earnshaw appears before him. Lockwood is going back to Starling Manor in the morning. Already on the way, he realizes that he has caught a bad cold.

In Brontë's novel Wuthering Heights, we can read that Mr. Lockwood called a doctor for himself, who said that during his illness he would have to spend several days in bed. However, the London gentleman really wanted to know who Catherine Earnshaw was and how she was related to Heathcliff. He asked his economic Mrs. Dean to sit with him during his illness and tell him what she knew about Wuthering Heights. It turned out that Mrs. Dean remembers all the details of the life of Lockwood's landlord, since she worked for the old Mr. Earnshaw - Heathcliff's adoptive father. The woman started talking tragic story Thunder Pass.

A few years ago the Earnshaws lived at a place called Wuthering Heights, and the Lintons at the house where Mr. Lockwood is now staying. Mr. Earnshaw had two beautiful children, the eldest boy, Hindley, and the youngest daughter, Katherine. Once an old man went to the city on business and on the way he saw little boy like a gypsy. Painful appearance pity awakened the child in Mr. Earnshaw, and he took the boy to him. If you read Emily Brontë's "Wuthering Heights", then we learn that the family decided to name the foster child Heathcliff. In time, all the inhabitants of Wuthering Heights began to notice that Mr. Earnshaw had a great affection for little Heathcliff. He spends quite a lot of time with him, forcing even his own children to be jealous of his father. Little Hindley and Heathcliff never found a common language and constantly mocked each other. However, Katherine treated her adopted brother with some sympathy, thanks to which a strong and sincere friendship was born between them.

The time came, and old Mr. Earnshaw passed away. Then Hindley came to the funeral along with his newly-made wife. The heir to the estate immediately decided to organize his orders in Wuthering Heights, recouping on Heathcliff. Hindley made an ordinary worker out of him, putting him on a par with the servants. Katherine at this time was being trained in Christian morality by old Joseph. She did not like the time spent with the cruel servant. The only thing that pleased the young lady was friendship with Heathcliff, which gradually began to grow into love.

Some time later, Hindley Earnshaw had a son, Hareton. The master's wife died a few days after a difficult birth. Since then, its existence seems to have ceased. Hindley realized that he had lost the most precious thing that life had given him. He began to drink frequently, disappearing in the village with new friends, which greatly frightened all the inhabitants of Wuthering Heights.

The friendship between Catherine and Edgar Linton ended with the young people realizing that they were not indifferent to each other. All this time Katherine was tormented by terrible doubts. Deep in her heart she knew that all her love belonged to her friend Heathcliff. However, she did not decide how main character connect your life with a man without clan and tribe. Moreover, she really liked Edgar, despite the fact that she understood that such affection would not last long. Once Heathcliff overheard a conversation between Catherine and Mrs. Dean, in which the girl discussed her future engagement. He got very angry and left the house. After that, the young man disappeared from Wuthering Heights for a long time.

If you download the book Wuthering Heights by Emily Bronte, then we will find out that a few months later the wedding of Catherine and Edgar took place, and the young girl moved to Starling Manor. Several years have passed, during which the newlyweds lived in perfect harmony. One day a stranger knocked on their doorstep. It took a moment for Mrs. Dean to realize that Heathcliff was standing in front of her. He didn't say why he left Wuthering Heights, or where he went for several years. Katherine was terribly glad to see an old friend. However, Mr. Linton suspected that his wife's attachment to her adopted brother was unhealthy. His suspicions were justified. Some time after Heathcliff's return, Catherine lost her mind.

Mr. Heathcliff began to appear at Starling Grange quite often. He was terribly rude and did not hide the fact that he returned to his native land to take revenge on Hindley and Edgar. In addition, he was terribly angry with Catherine because the girl, having rejected his love, agreed to marry the weak-willed Linton. During the years that Heathcliff roamed the land, Wuthering Heights became the abode of local drunkards. Every day a large number of men gathered there to play cards. Once during one of the games, Heathcliff received the right to the estate and all Hindley's money. So suddenly, a once-homeless young man became the owner of Wuthering Heights.

"Wuthering Heights" Bronte book tells that after some time Isabella falls in love with Heathcliff. And although everyone around, including Katherine Linton, dissuaded the girl from a bad idea to win his heart, she could not even think that he had any flaws. Heathcliff himself, realizing that old Linton bequeathed Starling Manor not to his son, but to Isabella, decided to take advantage of this situation. He offered the girl to run away, to which she immediately agreed. They disappeared for a while, returning as husband and wife. After the wedding, Heathcliff immediately revealed to Isabella everything he had planned. A young girl suffered terrible tortures while married, but her religiosity did not allow her to part with a terrible and cruel spouse.

Hindley dies in Wuthering Heights, and Heathcliff is now the absolute owner of the estate. Even the native son of the previous owner, Hareton, has no right to the house. In addition, after the death of Katherine, Isabella decides to run away from her husband. She rents a house near London, where she gives birth to a son, naming him Linton Heathcliff.

A little more than ten years pass, during which Edgar Linton brings up his beloved daughter. After the death of his wife, little Katie became the only meaning of a man's life. And the girl herself does not have a soul in her father. Unlike her mother, Miss Cathy was mild-mannered and submissive. One day, Edgar receives a letter saying that his sister Isabella has died, leaving behind a sickly son. Mr. Linton decides to immediately go to London and pick up the boy. Little Katie can't wait for her father to return and bring her cousin with him. Seeing Linton, the girl immediately fell in love with him with all her heart. However, that same night, Heathcliff came to Starling Manor. He demanded that his own son be handed over to him, and the next morning Mrs. Dean took the boy to Wuthering Heights.

Three more years pass, during which Kathy is strictly forbidden to visit Wuthering Heights. However, one day she breaks the ban and ends up in Heathcliff's house. There she gets to know her two cousins, Linton and Hareton. The girl cannot perceive Hareton as an equal to herself, since Heathcliff tried and did everything so that the young man was cruel and uneducated. But with Linton, everything is much simpler - Katherine understands what she feels for him strong love. Linton himself behaves like a terrible egoist and does not want to show his real feelings. However, Heathcliff realizes that by marrying two young people, he can become the sole owner of not only Wuthering Heights, but also Starling Manor. Moreover, he hates young Kathy, believing that his beloved died because of her.

When Edgar Linton felt terribly weak due to a severe illness, Heathcliff carried out his sinister plan and married Linton and Cathy. A few days after the wedding, Mr. Linton died, and a few months later, Linton Heathcliff also died. That was the end of Mrs. Dean's story.

If you download the work of Emile Bronte "Wuthering Heights", then we will find out that after some time Mr. Lockwood felt much better. He decides to say goodbye to Starling Manor forever and go back to London. However, exactly a year later he again had to go to Wuthering Heights. He could not resist visiting his old acquaintance, Mrs. Dean, who had many interesting things to say. It turns out that during this time there have been big changes. Heathcliff completely lost his mind from his mad love for Catherine and died suddenly. The feud between Cathy and Hareton has also subsided somewhat. After some time, the young people became interested in each other, and a few months later they scheduled a wedding.

Khramova Anastasia. Second place in the Scientific Society of Students (district) 2014

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DEPARTMENT OF EDUCATION AND SOCIAL AND LEGAL PROTECTION OF CHILDHOOD

ADMINISTRATION OF THE CITY OF NIZHNY NOVGOROD

MUNICIPAL BUDGET EDUCATIONAL INSTITUTION GYMNASIUM №136

603065, Nizhny Novgorod, st. Dyakonova, d. 1b, tel./fax. 253-53-09, tel. 253-29-46

Scientific Society of Students

The spirit of romanticism in the novel Wuthering Heights by Emilia Brontë

Performed:

Khramova A.V.

Grade 10A MBOU gymnasium No. 136

Supervisor:

Sentyabreva A.S.

English teacher

MBOU gymnasium №136

Nizhny Novgorod

2013

Introduction

Chapter I. The Age of Romanticism in English Literature

1.2 Romanticism as a literary movement in England

Chapter II. The spirit of romanticism in the novel "Wuthering Heights"

2.1 Life and work of Emily Brontë

2.3 Features of the manifestation of romanticism in the work

Chapter III. Practical research

Conclusion

List of used sources and literature

Application

INTRODUCTION

The study of the work of the outstanding English writer Emily Bronte (1818-1848) is an extremely important aspect of understanding the features literary process England in the middle of the nineteenth century. Without a doubt, all new generations of readers are discovering its unique, unique talent, which manifested itself with sophistication in her poetic work and the single novel Wuthering Heights.

The creative heritage of the writer continues to attract the attention of many generations of readers and literary critics, her inherent unsurpassed originality, imagery and picturesqueness. It should be pointed out that in the English literature of the mid-nineteenth century, the concepts of romanticism and "classical realism" were present simultaneously. Hence follows the interpenetration of the two art systems. Realist writers have significantly deepened the solution of the problem of the relationship between the individual and society by explaining the typical social circumstances that determine the nature of typical characters.

It is known that Romanticism as a literary trend arose at the turn of the 18th and 19th centuries. As an ideological and artistic trend, romanticism reflected the discord between dreams and reality, generated by a combination of socio-political reasons characteristic of the turn of the 18th-19th centuries.

The socio-historical soil of romanticism in England had its own characteristics. The bourgeois revolution took place in the country in the middle of the 17th century, and by the end of the 18th century its results were quite obvious. Among the people, dissatisfaction with the consequences of the industrial revolution matured and grew stronger.

Romantic culture, with its specific principles, is a reflection of the process of alienation of the individual in bourgeois society, the rupture of former social ties in the transitional era, the uncertainty and fragility of the relationships that are being established. The individual finds himself isolated from the old age-old social system. An artistic principle characteristic of romanticism is being formed - the image of a person as self-valuable, not dependent on ugly social circumstances, which are sharply condemned by romantics. This person lives in his own unique, individual inner world and, without accepting reality, creates by herself, with the help of her imagination or emotional activity, perfect world corresponding to the impulses and aspirations of her subjective spirit. But the romantics cannot fail to realize that on the path of the subjective creativity of an inherently valuable personality and in the process of asserting his free will, he inevitably encounters harsh reality modern society. Hence - the emergence of romantic irony, which indicates the impossibility of absolutizing the freedom of the individual and the self-worth of the individual.

Many literary critics still argue about Emily Bronte's great novel Wuthering Heights: some of them argue that the novel is written in the Gothic style, others speak of the spirit of romanticism and classical realism.

The spirit of romanticism is embodied in a work of great emotional tension - the novel Wuthering Heights. It was called “the most romantic novel” (V. Pater), “a devilish book that united all the strongest female inclinations”, one of the best novels “in terms of strength and penetration” (D. G. Rossetti), “one of the manifestos of the English genius. .. a novel that develops into poetry"

Meanwhile, this the only novel Emily Brontë is in no way inferior to the works of her sister, Charlotte. These novels are quite difficult to compare, since the writers consider human nature using completely different coordinate systems. Virginia Woolf compared the work of the two writers most figuratively and deeply in her critical article “Jane Eyre” and “Wuthering Heights”: “Charlotte Bronte does not think about human destiny; she does not even know that there is something to think about; all its power, all the more powerful because its scope is limited, goes into statements such as "I love", "I hate", "I suffer ... Wuthering Heights is a book more difficult to understand than Jane Eyre, because Emily is more of a poet than Charlotte.

The work itself causes a lot of controversy among writers, the main of which is what genre this work should be attributed to. Like most literary critics, we are inclined to believe that this work belongs to romanticism, many facts can be cited to prove this.

Emily Bronte depicts the fates of her characters as tragic, but at the same time she contrasts them with the life story and love of the young generation, whose representatives were able to defend their right to happiness. The novel is characterized by discontinuity in composition. Events are conveyed through the perception of several narrators (Nellie Dean, Lockwood). Everyone interprets what is happening in their own way. The technique of the story in the story is used, insert episodes, letters, excerpts from diaries are included in the story. The lyrical and dramatic beginnings become predominant. The epic story fades into the background.

In E. Bronte's novel, there is the authenticity of the real, conveyed not only in the images of the ordinary, but also the sublime, inherent in the way of thinking and feeling. This is one version of the romantic prose of Victorian England.

The relevance of this work lies in the fact that the novel "Wuthering Heights" and the life of Emily Bronte is still of public interest, and this book can give a lot for the development of the mind and heart of adolescents. It connects many generations of people. It is possible that almost all grandmothers, mothers of modern teenagers read it with rapture. They will certainly want to involve their young relatives in reading Wuthering Heights, re-read it themselves, and then compare their impressions. This book has not lost its relevance. There are about 40 adaptations of the novel. Okay, useful, interesting to compare the movies with the book. There is a chance of interaction of personalities in the family. And not only. There are many reviews and reviews of the book on the Internet. The English film adaptation of 1992 was especially vigorously discussed on the Internet. So both the book and films can be discussed in the companies of teenagers. But most importantly - this book is specifically for older teenagers 14 - 17 years old. After all, she is very romantic. Sharp topics and problems of growing up, comprehension of one's character, temperament, the birth of passion, the struggle with one's nature are raised here. The novel helps to explore the secrets of the soul. The struggle of low and high in the soul of one person. The versatility of human nature, etc. The novel is devoid of detailed description the beginnings and manifestations of Katie and Heathcliff's passionate love, giving free rein to the imagination and fantasy of "wandering in paradise". Wuthering Heights gives rise to wonderful dreams, helping to forget the harsh reality for a while.

The purpose of this essay: to prove that Emily Bronte's novel "Wuthering Heights" has the spirit of romanticism.

Based on the above goal, this abstract the following tasks were set:

1. Explore the era of romanticism in English literature.

2. Define the term "romanticism" and its distinctive features.

3. Find out certain aspects of the life and work of Emily Brontë.

4. Determine the storyline of the novel "Wuthering Heights"

5. Find out the features of romanticism in this work.

6. Reveal public opinion about her work, genre and film adaptations of the novel, through a social survey on the Internet.

Chapter 1 The Age of Romanticism in English Literature

Definition of the term romanticism and its distinctive features

Romanticism (fr. romantisme) is a phenomenon of European culture in XVIII-XIX centuries, representing a reaction to the Enlightenment and the scientific and technological progress stimulated by it; ideological and artistic direction in European and American culture of the late 18th century - the first half of the 19th century. It is characterized by the assertion of the inherent value of the spiritual and creative life of the individual, the image of strong (often rebellious) passions and characters, spiritualized and healing nature. It spread to various spheres of human activity. In the 18th century, everything that was strange, fantastic, picturesque, and existing in books, and not in reality, was called romantic. At the beginning of the 19th century, romanticism became the designation of a new direction, opposite to classicism and the Enlightenment.

Romanticism as a method and direction in artistic culture was a complex and controversial phenomenon. In every country he had a bright national expression. It is not easy to find features in literature, music, painting and theater that unite Chateaubriand and Delacroix, Mickiewicz and Chopin, Lermontov and Kiprensky.

Romantics occupied various public and political positions in society. They all rebelled against the results of the bourgeois revolution, but they rebelled in different ways, since each had his own ideal. But with all the many faces and diversity, romanticism has stable features.

Disappointment in modern times gave rise to a special interest among romantics in the past: in pre-bourgeois social formations, in patriarchal antiquity. Many romantics were characterized by the idea that the picturesque exoticism of the countries of the south and east - Italy, Spain, Greece, Turkey - is an ethical contrast to boring bourgeois everyday life. In these countries, then still little affected by civilization, the romantics were looking for bright, strong characters, an original, colorful way of life. Interest in the national past gave rise to a mass of historical works.

In an effort to rise above the prose of being, to liberate the diverse abilities of the individual, to achieve self-realization to the maximum in creativity, the romantics opposed the formalization of art and the straightforward and judicious approach to it, characteristic of classicism. All of them came from the denial of the Enlightenment and the rationalistic canons of classicism, which fettered the creative initiative of the artist. And if classicism divides everything exclusively into good and bad, black and white, then romanticism is characterized by branching, ambiguity. Classicism is a system, and romanticism isis not such. Romanticism contributed to the advancement of the new time from classicism to sentimentalism, which shows the inner life of a person in harmony with the vast world. And romanticism opposes harmony to the inner world. It is with romanticism that real psychologism begins to appear - the reader is shown not only the external actions of the characters, but also their inner state of mind. The main task of romanticism was to depict the inner world, spiritual life, and this could be done on the material of stories, mysticism, etc. It was necessary to show the paradox of this inner life, its irrationality. In their imagination, the romantics transformed the unattractive reality or went into the world of their experiences. The gap between dream and reality, the opposition of beautiful fiction to objective reality, lay at the heart of the entire romantic movement.

Romanticism for the first time poses the problem of the language of art.

“Art is a language of a very different kind than nature; but it also contains the same miraculous power that just as secretly and incomprehensibly affects the soul of a person”

An artist is an interpreter of the language of nature, an intermediary between the world of the spirit and people.

“Thanks to the artists, humanity emerges as a whole individuality. Artists through modernity unite the world of the past with the world of the future. They are the highest spiritual organ in which the vital forces of their outer humanity meet each other and where the inner humanity manifests itself first of all”

However, romanticism was not a homogeneous trend: its ideological development went in different directions. Among the romantics were reactionary writers, adherents of the old regime, who sang of the feudal monarchy and Christianity. On the other hand, romantics with a progressive outlook expressed democratic protest against feudal and all kinds of oppression, embodied the revolutionary impulse of the people for a better future.

The art forms more or less equalized in their significance and produced magnificent works of art, although the romantics gave priority to music in the ladder of arts.

Romanticism left a whole epoch in world artistic culture, paid close attention to the fate of the human personality, revealed the dialectic of good and evil, skillfully revealed human passions, etc.

The main genres of romanticism:

fantasy story,
historical novel,
lyric epic poem,
the lyric reaches an extraordinary flowering.

Conclusions:

The hallmarks of romanticism are:
1. "Cult of feelings" of a person
2.Mir-chaos, knowledge of the world through feelings.
3. Exceptional heroes who act in exceptional circumstances.
4. The conflict between feelings, the conflict of man and society, man and the crowd.
5. A romantic hero, a hero of monopassion - that is, they have one type of feelings, ideas.

1.2 Romanticism as a literary trend in England.

Romanticism - as a school - did not exist in England. Here, as in France and Germany, there was no group of writers united on a romantic platform. Nevertheless, a number of typical signs of romanticism that distinguished English literature in the first decades of the 19th century give the right to speak of a romantic trend in England. These signs were: a protest against classical rationality, especially against classical rules, and the opposition of individual poetic freedom to them; further, interest in nationality and antiquity, in the Middle Ages - as opposed to Antiquity, which was the main content of classicism; interest in the exotic, which attracted the attention of English romantics to Scotland, the country of old folk songs and legends. Nature and the countryside flow in a wide stream into the English romantic poetry. Finally, a big role in English poetry romantic period play revolutionary moods, passion for the French Revolution, political radicalism.

Theodor Gericault Plot "Medusa" (1817), Louvre in close connection with the German influence is considered the emergence of Romanticism in England, where its first representatives are the poets of the "Lake School", Wordsworth and Coleridge. They set theoretical basis of his direction, having become acquainted, during a trip to Germany, with the philosophy of Schelling and the viewsthe first German Romantics. English romanticism is characterized by an interest in social problems: they oppose to modern bourgeois society the old, pre-bourgeois relations, the glorification of nature, simple, natural feelings.

Next to the populist romanticism of the lake schoola prominent representative of English romanticism is Byron, who, in the words of Pushkin, "clothed in dull romanticism and hopeless egoism" . Greatest Poet era Byron was a representative of revolutionary aristocratic romance. Despising the high society with which he was associated with his origin, breaking away from his class, not seeing anything attractive in the representatives of capital, greedy and corrupt merchants, Byron in his youth burst into a fiery speech in defense of the workers, but after that he did not return to this issue, for the rest of his life he remained a declassed aristocrat, a rebellious revolutionary individualist, a singer of dissatisfied disappointed natures, starting with the mysterious demonic wanderers and robbers (“Gyaur”, “Lara”, etc.). The same image is deepened in Childe Harold, which became the subject of wide imitation in European poetry. Byron ended with a protest against the universe and world order in his theomachic tragedies ("Manfred" and "Cain"). By the end of his life, Byron came close to political and social satire (Don Juan, Bronze Age"). Extreme individualism, a sense of dissatisfaction, an attraction to the East and exotic countries, a love of nature and loneliness, dreams of the past at ruins and monuments - all this makes Byron a poet of English romanticism, and his angry accusatory protests against all forms of violence and exploitation, his connections with the Italian Carbonari and the struggle for the liberation of Greece made him a singer of freedom in the eyes of the European intelligentsia. His friend Percy Bysshe Shelley, a brilliant lyric poet, also an aristocrat, like Byron, combines in his poetry the world of fantastic romance with revolutionary protest against the emerging bourgeois-capitalist society. In his poem "Queen Mab", he depicts this society, where everything is "sold in the public market", where, with the help of a severe hunger, the master drives his slaves under the yoke of wage labor. Shelley acts as the same revolutionary romantic in his other poems (“Laon and Cytna”, “Unchained Prometheus”, etc.). His wife, Mary Shelley, author of Frankenstein, is a pioneer in the issue of scientist responsibility. Walter Scott shows, like two great poets, a tendency towards antiquity. He was the creator of the historical novel ("Ivanhoe", "Rob-Roy", "Quentin Dorward", "The Templars", etc.), in which he knew how to combine plausibility and realism with rich romantic fiction and depict the most dramatic moments national history Scotland and England.

In the first third of the XIX century. the first stage of the struggle between the nobility and the industrial bourgeoisie, which is becoming more and more master of the situation, is coming to an end. The struggle against the Corn Laws, Chartism and the actions of the working class, powerfully declaring their demands, overshadow feudal romance and patriarchal dreamy poetry. The city with its practical interests, the growing bourgeoisie, the beginning social struggle between it and the working class become the main content English Literature, and realism - its predominant form. Instead of a medieval castle - a factory town, instead of distant antiquity - seething modern industrial life, instead of fantastic images of inventive imagination - an accurate, almost photographic, depiction of reality. Bulwer-Lytton, still continuing the traditions of romanticism, an aristocrat by birth, filling his novels with transformations, miracles and criminality, however, leaves us a number of literary documents of social significance, depicting the process of impoverishment and decomposition of the nobility (novels - “Pelgam”, “Night and Morning " and etc.).

Many foreign and Russian classics also consider the novel Wuthering Heights by Emily Brontë to be a work related to the direction of "romanticism", becausetwo main themes are raised in the novel "Wuthering Heights" - the theme of love and the theme of the humiliated and insulted. They are embodied in destinies and difficult relationships that connect members of two families in two generations. The love story of Catherine Earnshaw and Heathcliff forms the basis of the novel, which is constructed in a very peculiar way.

The composition of the novel is disjointed: the story begins from the moment when the tragedy rushes to the denouement. Using the technique of the story in the story and the mirror image of the work.

__________________________________________________________________
Having considered romanticism as a literary phenomenon in England in this chapter, we can draw the following conclusions: in England, as such, the direction of romanticism did not exist, it found its responses in the works of writers.

CHAPTER 2 THE SPIRIT OF ROMANTISM IN THE NOVEL "Wuthering Heights"

Chapter 2.1. The Life and Works of Emily Brontë

Emily was the fifth of six children in the Brontë family. When she lost her mother in 1821, and her two older sisters, she, along with Ann, Charlotte and brother Branwell, became a close-knit and unique team. They did not attend school, they had no friends, they lived in a remote village. The peat bogs that could be seen from the open windows of the house served as a playground for them, and their own imagination.

Emilia was the most mysterious of the sisters (Appendix 2) - thin, shy, very reserved, hiding from everyone the deepest movements of the soul and feelings. Emily Bronte had no close friends, she rarely wrote letters, she loved few people, except for her relatives. Her character was characterized by stoic firmness and mysticism. Almost no information has been preserved about her life and personal fate, although in the most in general terms her biography includes everything that her brother and sisters experienced.

Emily had the least opportunity to learn, unlike her sisters. She spent half a year at the Clergy Daughters School in Cowan Bridge Village when she was 6 years old; three months at Roe Head School, in Dewsbury, at the age of 17; and another nine months in the Eje boarding house in Brussels at the age of 24-25. She filled in the rest of her educational gaps by studying at home with her aunt Branwell and her sister Charlotte. Art and music teachers sometimes visited their parish house (Emily was a talented pianist), however most she had to receive training from her father. Mr. Brontë encouraged his daughters to read widely, and debated with them as adults, on topics of politics, and literary criticism. Mr. Brontë also planned for his second daughter, Elizabeth, to become a housekeeper and the rest to be governesses. The only paid job Emily accepted was teaching at Law Hill School near Halifax in 1838, which lasted six months.

The most painful thing for her was the lack of freedom, time for creativity, a feeling of loneliness. No less painful for Emily was her stay with her sister in Brussels, in the boarding house of Eger, where she was tormented by nostalgia for her home, native wastelands and swamps, thoughts about loved ones. The head of the educational institution, a smart and subtle teacher, noted the wayward and contradictory nature of the girl, her masculine mindset and the fact that she could be a “great navigator”. All these qualities are somehow reflected in her work.

Emilia returned home three months later. Difficult family atmosphere. However, for Emilia, the house was the backdrop of her joys and sorrows, the setting for the only amazing novel, Wuthering Heights. Emily Brontë was only happy at home - she liked to take care of the housework, and she enjoyed the company of the eldest of the servants, Tabitha Aykroud.

Like the Branwell sisters and brother, Emily has been a writer since she learned to read. Together with Anne, they wrote poetry and stories about the fictional world of Gondal. Only a few verses from the tales of Gondal have survived, but it is known that their joint work continued to live until the beginning of 1840, and it is possible that Emily never betrayed the dream of magical world oblivion. The last thing Emily wanted was for the Bell Brothers' collection of poems to be published, and even after the publication of Wuthering Heights, she refused to accompany her sisters on a trip to London in order to reveal to the world the truth that three educated women were hiding behind the pseudonym Bell.

Emily's work was the focus of her existence, so to talk about her life is to talk about her work.
Powerful-sounding themes unexpectedly coexist in her poetry with momentary observations and are associated with an amazing simplicity of language. Emilia is not characterized by the widespread use of metaphors, complicated poetic constructions, experiments with the rhythm of the verse.
Nevertheless, her poetic work has an intense aesthetic impact. She had a philosophical mindset. Emilia Bronte, like her beloved Wordsworth, was convinced that "poetry is the truth that passion brings to the living heart."
The novel Wuthering Heights (1847) is a completely unique phenomenon in English literature.
In the work of E. Bronte, a romantic tradition lives on, merging with realism, penetration into the eternal human conflicts: the skill of the writer is manifested in the depth of psychological characteristics.
There is a huge emotional tension in the work. Of note is the "terrifying, great gloominess" that pervades the story of the two Yorkshire families Earnshaw and the Lintons and their evil genius Heathcliff. Katherine Earnshaw and Heathcliff are connected by a stormy, demonic, rebellious passion. Their love is tragic. It is no coincidence that Wuthering Heights was called “the most romantic of novels”, “a diabolical book that combined all the strongest female inclinations”, one of the best novels “in terms of strength and penetration of style”), “one of the manifestos of the English genius ... a novel that develops into poetry."

Unlike the rest of the Brontë children, Emily was tall and sturdily built. She was the liveliest member of the family, however, despite her clairvoyance, she had no friends. No personal correspondence from her has been preserved, and even the information that now appears about Emily is always too contradictory. We only know that she loved the strict routine of life, and she always mixed reality and fantasy together.

She adored pets, although she had a violent temperament, and kept them strict. She avoided everyone except her relatives, and her character traits are vividly represented in the characters of her works. Her poetry is deeply religious, despite the fact that she refused to receive a religious education. For Emily, following religious dogmas meant being in harmony with herself, obeying the laws of nature. This may well explain Emily's rejection of all family help and medical treatments during her terminal illness.

Unlike Charlotte, Emily Bronte had no close friends, she rarely wrote letters, and loved few people, except for her relatives. Her character was characterized by stoic firmness and mysticism.

During Emily's lifetime, this Wuthering Heights went practically unnoticed, and it was only after her death, when Charlotte carried out a second edition of it, that Wuthering Heights was met with a chorus of praise as a true masterpiece, albeit with some reservations. AT curriculum vitae Charlotte noted the "terrifying, great gloominess" that pervaded the story of the two Yorkshire families Earnshaw and the Lintons and their evil genius Heathcliff.

2.2 Wuthering Heights storyline

The novel Wuthering Heights (1847) is a completely unique phenomenon in English literature.

In the work of E. Bronte, a romantic tradition lives on, merging with realism, penetration into the eternal human conflicts: the skill of the writer is manifested in the depth of psychological characteristics.

There is a huge emotional tension in the work. Of note is the "terrifying, great gloominess" that pervades the story of the two Yorkshire families Earnshaw and the Lintons and their evil genius Heathcliff. Katherine Earnshaw and Heathcliff are connected by a stormy, demonic, rebellious passion. Their love is tragic. It is no coincidence that Wuthering Heights was called “the most romantic of novels”, “a diabolical book that combined all the strongest female inclinations”, one of the best novels “in terms of strength and penetration of style”), “one of the manifestos of the English genius ... a novel, turning into poetry.

"Wuthering Heights", according to R. Fox, is one of "the most unusual books created by human genius, but all this because it is a cry of despair and anguish, torn out of Emily's soul by life itself."

There are no governesses or their employers here. There is love, but not the love that binds men and women. She saw before her a broken world, a chaotic heap of fragments, and felt the strength in herself to bring them together on the pages of her book. From beginning to end, this titanic design is felt in her novel, this high effort - half fruitless - to say through the lips of her characters not just "I love" or "I hate", but - "We, the human race" and "You, the eternal forces ".

E. Bronte describes real conflicts; creating an apotheosis of the all-consuming passion of the heroes, she depicts them public tragedy. "Wuthering Heights" is a novel about love in the conditions social inequality and injustice.

The generally accepted norms of behavior, the idea of morality, ethics, characteristic of English society, were interpreted in the novel completely inadequately. Emilia Bronte speaks about her heroes using the words: “devilish”, “non-Christian”, “evil”. The author of "Wuthering Heights" showed what kind of hell is going on behind the walls of the "house-fortress", how much cruelty, hypocrisy, and mutilated destinies are hidden behind them. The novel "Wuthering Heights" caused many readers to tremble with horror and "disgust at the expressiveness ... with which bad ... characters were portrayed."

Wuthering Heights by Emily Bronte is a truly unique book. This novel puts Emily in line with such evangelists and strong feelings as Virginia Woolf, Ann and Charlotte Brontë. However, Wuthering Heights is not a work of women at all. This is a strong, amazing, terrible work that will cover the reader with his head. The author of this book is not at all a romantic and capricious woman, she is a person with outstanding literary abilities. This is a man who has known and managed to portray all the horror and disgust of human nature.

Released in England back in 1847, Wuthering Heights occupies the minds and hearts of both young ladies and older people to this day.

it eternal book about the eternal virtues and vices of human nature.

The love story, or maybe only an all-consuming passion, of Catherine Earnshaw and the adopted gypsy Heathcliff is unusual and at the same time natural. Family relationships on Wuthering Heights have always been complex and confusing. Satanic passions and angelic virtues reign here, there is true love, and hysterical hatred, and envy. Here you can never predict how this or that storyline will end. In Wuthering Heights, everything is brought to the limit, to cosmic magnitudes. The book makes it clear that some processes that happen to people, some questions and situations are eternal. Forces beyond the control of heroes change the fate of a person, disfigure and kill him.

One of the main characters of the novel is Heathcliff. Picked up in early childhood the owner of Wuthering Heights, the father of Katherine Earnshaw, he is obsessed with Katherine, he is vengeful and embittered. This is a true Byronic hero, an unusual image, all the time shrouded in mystery.

To match him and the rest of the characters in the book. Freedom-loving Katherine, selfish and somewhat spoiled, falls ill physically and mentally, dies, suffering from her own character.

Hindley Earnshaw, the son of the original owner of the estate, is initially a positive person, a hero who seems cleaner and better than the rest of the inhabitants of Wuthering Heights, turns out to be powerless before the blows of fate, cannot stand the loss of his wife, begins to drink and completely sinks.

Fate does not spare anyone here. Almost all the characters in this book are secretive, dark, evil, envious and unbalanced. That is why clouds are gathering over Wuthering Heights. That is why all these tragedies occur, all the terrible ups and downs of fate in this harsh house. That is why it is so difficult for new people to get along here. Even the unsociable and secretive Lockwood feels uncomfortable within the walls of this estate.

Emily Bronte's novel envelops the reader in the darkness and harshness of the foggy nature of Northern England. There is a theory that Emily was inspired to write Wuthering Heights by childhood memories spent in the family of the country priest Patrick Brontë in cold Yorkshire. (Appendix 3) Truly frightening and depressing is the atmosphere of a decaying estate, a house where no one feels even the slightest drop of pity for a close and dear person. Intrigue, resentment, bitterness here are not explained by either pain or loneliness. However, Emilia Bronte gives us hope for the triumph of the pure forces of good, when, after the death of Heathcliff, peace and tranquility are restored on Wuthering Heights.

The gloomy, mysterious figure of Heathcliff personifies the unstable, inexplicable forces of fate. That is why he was not born in the Earnshaw family, but falls into it very young. That is why he can never be happy himself and make others happy.

Wuthering Heights was the only novel by writer and poet Emily Brontë. It was called both the “devilish book”, and the “inconceivable monster”, and the “most romantic novel”, it was recognized as one of the most brilliant works of all times and peoples. S. Maugham included "Wuthering Heights" in the top ten best novels in history. There are more than fifteen adaptations of the ageless novel.

And, despite the fact that the novel was published in Russia only in 1956, many years after the death of the famous writer, Wuthering Heights immediately earned worthy fame. The novel is constantly being reprinted. Surprisingly, in modern literature there are a considerable number of reminiscences of Wuthering Heights.

Is there a story of true love in this book, or is it just an unbridled passion - it's up to each reader to decide. However, "Wuthering Heights" to this day remains a classic of world literature, a work that continues to be read by many generations. With each new reading, he will reveal to you new, more and more interesting details.

2.3.Features of the manifestation of romanticism in the work.

The novel Wuthering Heights (1847) is a completely unique phenomenon in English literature. It is influenced by Defoe and Richardson, W. Scott and Shelley. One can speak of a brilliant continuation of the realistic tradition that comes from the depths of English literature of the 18th century. However, Emilia Bronte is not characterized by the tendencies of everyday writing, moralizing; as a writer, she is distinguished by philosophical thinking and a vivid poetic imagination.
In the work of E. Bronte, a romantic tradition lives on, merging with realism, penetration into the eternally human, and thus modern collisions: the skill of the writer is manifested in the depth of psychological characteristics and romantic symbolism.

The spirit of romanticism is embodied in this work of great emotional tension. It was called “the most romantic novel” (V. Pater), “a devilish book that united all the strongest female inclinations”, one of the best novels “in terms of strength and penetration” (D. G. Rossetti), “one of the manifestos of the English genius. .. a novel that develops into poetry ”(R. Fox). W. Wolfe wrote: "Wuthering Heights" is a heavier book than "Jane Eyre" because Emily is more of a poet than Charlotte.

Charlotte used all her eloquence, passion and richness of style to express simple things: "I love", "I hate", "I suffer". Her experiences, although richer than those of others, are on our level. In Wuthering Heights, "I" is absent altogether. There are no governesses or their employers here. There is love, but not the kind of love that binds men and women. Emily's inspiration is more general. It was not personal experiences and images that motivated her to create. She saw before her an unfolded world, a chaotic pile of debris, and felt the strength in herself to collect them together on the pages of her book.

From beginning to end, this titanic design is felt in her novel, this high effort - half fruitless - to say through the lips of her characters not just "I love" or "I hate", but "We, the human race." Emily Bronte mythologizes real conflicts, creating an apotheosis of the all-consuming passion of the characters, she depicts their social tragedy. Wuthering Heights is a novel about love under conditions of social inequality. His conflict is predetermined by the collision of dreams and reality. Two worlds oppose - the foundling Heathcliff and the inhabitants of the landowners' estates. Heathcliff, his strong character, innate pride and honesty are contrasted with the selfishness, mediocrity and noble swagger of his rival Edgar Linton.

The genre of this novel is definitely romantic. "Wuthering Heights is a wildly romantic book," Somerset Maugham, a classic of English literature, argued in 1965. Nevertheless, Emily Bronte, having written a single work, surprisingly could not fit into the framework of the usual literary trends. The thing is that Wuthering Heights cannot be attributed to a purely romantic novel: it also contains elements of a realistic understanding of a person, but Emily Bronte's realism is special, completely unlike the realism of, say, Dickens or Thackeray. It can be said that here it is absolutely inseparable from romanticism, partly due to the fact that the writer refuses to consider and resolve the conflict of the novel in the social or public sphere - she transfers it to the area of philosophical and aesthetic. Like the romantics, Emily Brontë longed for the harmony of being. But in her work, she is expressed, paradoxically, through death: only she tried on descendants and helped reunite her tormented loved ones. “I wandered around the graves under this good sky; looked at the moths rushing about in heather and bells, listened to the soft breath of the wind in the grass - and marveled at how people imagined that the sleep of those who sleep in this peaceful land could be unpeaceful, ”the novel ends with these words. Yet it is surprising that such a "powerful, passionate, eerie" book, in the words of Somerset Maugham, ends with such an almost idyllic ending.

This is a book about love, but about love that is strange, about love that does not fit into any of our ideas about it. This is a novel about a place, but about a place born of passion. This is a novel about fate, about will, about a person, about space ...

The love depicted in the novel is devoid of harmony, but it is not in the surrounding world, where destructive forces are at work. The theme of calm and serene happiness does not interest Emilia Bronte as a novelist. She prefers large scenes, extremely emotionally rich. Each of them represents a crisis of the human soul.
The tragedy in Wuthering Heights is connected not with the theme of the death of heroes, as in Shakespeare's Romeo and Juliet, but with a violation of harmonic beginning inside a person. Heathcliff and Catherine could only be happy as long as money, prejudices, conventions did not come between them.

The very structure of the novel, its stylistic and visual means, are quite sophisticated. It is difficult to say whether Emily Brontë created such a harmonious text on purpose or unconsciously. The novel is characterized by discontinuity in composition. Events are conveyed through the perception of several narrators (Nellie Dean, Lockwood). Everyone interprets what is happening in their own way. The technique of the story in the story is used, insert episodes, letters, excerpts from diaries are included in the story. The lyrical and dramatic beginnings become predominant. The epic story fades into the background. Emily Bronte depicts the fate of her heroes as tragic, but at the same time she contrasts them with the life story and love of the younger generation, whose representatives were able to defend their right to love. The theme of fate and the continuity of generations is clearly traced through repetition: the names, characters, actions of heroes which creates some kind of mysterious, mystical atmosphere, a sense of inevitability and patterns of what is happening.

Dramatic tension is also characteristic of nature paintings. These descriptions of nature can be discussed separately and for a very long time. Emily Bronte really makes the wind blow and the thunder rumble, while the breath of the moorland seems to break through the text of the novel and douse us with its cold, but at the same time with unique romanticism.The landscape becomes an accomplice and a harbinger of events in the novel. Heather fields and peat bogs are illuminated by the brilliance of lightning, the shadow of thunderclouds foreshadowing a storm falls on them; peals of thunder accompany the experiences of restless and suffering heroes. The gloomy atmosphere of life is sometimes decorated only with the colors of sounds. The swamps are very beautiful in the brief moment of sunrise, when, in the midst of the silence of early morning, the ear catches the melody of the water jet. On quiet days on the Wuthering Pass, the bell ringing is clearly audible. But harmony is constantly violated by the raging passions of human relations.Nature is not only the background of unfolding events, but also expresses the inner experiences of the characters, personifies their exorbitant, stormy feelings. Nature, like people, is inherent in unrest and secrets. Emily Brontë uses images of wood elves, fairies, werewolves, wandering ghosts, borrowing them from folklore. It gravitates towards broad generalizations and fundamentally realistic symbols.

Wuthering Heights is a controversial and mysterious work. If you understand the text, it is impossible not to encounter moral and ethical inconsistencies in the behavior of the characters that amaze the reader: Catherine and Heathcliff, on the one hand, personify cosmic love, love that is stronger than death, but in reality it somehow takes on grotesque forms , being expressed, in fact, through Evil - Good as such is practically not shown at all in the novel, except perhaps in the last scenes. Critic Georges Bataille, in his article on Wuthering Heights, says that "... in the knowledge of Evil, Emily Bronte has reached the very end." And indeed, who else in literature depicted Evil in this way? Evil that exists in an unnatural synthesis with love, Evil that is completely beyond control and some kind of moral justification. And that's another big mystery in this whole story: how, raised on the Bible, Emily Bronte was able to create characters that are completely devoid of Christian humility and peace? Even at the last meeting with Katherine, who is on the verge of death, Heathcliff is not able to overcome the thirst for revenge; after Katherine betrayed him by marrying Linton - the inhabitant of the "serene" Starling Grange, revenge in the heart of Heathcliff constantly takes the place of love. “Oh, you see, Nellie, he will not relent for a moment to save me from the grave. That's how he loves me! ”, - Catherine herself exclaims. But even after the death of her beloved Heathcliff does not humble herself: “God forbid she wake up in torment! - he shouted with terrible force, and stamped his foot, and groaned in an unexpected fit of indomitable passion. - She's still a liar! Where's she? Not there - not in heaven ... and did not die - so where? Oh, you said my suffering meant nothing to you! I have only one prayer - I constantly say it until my tongue ossifies: Catherine Earnshaw, do not find peace while I live! .Virginia Woolf wrote that "there is no more living male image in literature." But this image is not just “alive”, it is unusual, it is mysterious and infinitely contradictory. However, like the rest of the novel. Somerset Maugham, who praised Wuthering Heights very highly, spoke of the image of the protagonist as follows: “I think that Emily put all of herself into Heathcliff. She endowed him with her furious rage, her frantic repressed sexuality, her passionate unquenchable love, her jealousy, her hatred and contempt for the human race, her cruelty ... "Be that as it may, this extraordinary image cannot leave the reader indifferent. However, these are all the images of the novel. Strong characters not amenable to rational evaluation, analysis. E. Bronte perceives his characters only in unity with the surrounding world. Violence and cruelty can destroy not only a person, but everything that exists around. Cathy's insanity is connected with her own decision to leave Heathcliff, the most striking nature in the general background. All the characters are very lonely. In a moment of crisis, they do not expect help or understanding even from those they love. And even more so, they are not inclined to Christian humility. The main characters are similar to each other. Their passion reveals itself in outbursts of anger, cruelty, which nevertheless does not absorb them. There is something beyond emotional outbursts. In the novel, Heathcliff, in a fit of vengeance, destroys the existing existence, but he is rejected by Cathy. Despite her illness, she does not evoke pity, but rather respect for the intense passion that destroyed her brain and body, a passion completely beyond the understanding of Nellie Dean, a constant participant in the events. And not only to her.
The fictional world intertwined in the novel with the real world. England was going through serious political and social upheavals at that time, which could not but affect the social atmosphere, the characters of people trying to adapt to the changed life. The life and customs of provincial Yorkshire are the backdrop for the unfolding drama with bright characters, passions, and expressive symbols.

E. Bronte pushed the boundaries of the traditional family-domestic romance. A poetic love story of two couples, the amazing power of its emotional impact, deep penetration into inner world heroes, showing the ways in which the formation of these people, rebels in their warehouse, the abundance of problems posed by the author - all this made the novel socio-philosophical.

Being a subtle master psychological analysis, E. Bronte managed to highlight some specific features national characters. The fierce struggle of feelings in a person, his dream of free love, his sincere desire for self-giving hide egoism. Heathcliff's mental anguish, awareness of his guilt, torment cannot drown out the fierce desire for possession, power over a creature dear to him. Heathcliff curses Cathy even after her death. In his frenzied cry: "I can't live without my soul!" – there is an undisguised egocentrism. When Katherine dies, her well-bred husband indulges in befitting sadness, but the narrator sees Edgar's selfishness.
In the comprehension national identity» E. Bronte is ahead of the writers of the 20th century, in whose work this topic was further developed (A. Murdoch, W. Godding).

"Good" and "evil" received in "Wuthering Heights" a completely inadequate sound, opposite to the generally accepted canons, and somewhat shocked contemporaries. However, Emilia Bronte gave a strong and fruitful impetus to the subsequent development of the genre of the novel.
The Pre-Raphaelites valued in her a visionary writer, capable of catching in nature, in the movements of the human soul, reflections of the innermost secrets of the universe. Within the framework of the so-called Victorian novel, a new rebel hero appeared, sweeping away outdated traditions, crushing possessive morality, defending the right to love. The author of "Wuthering Heights" showed what kind of hell is going on behind the walls of the "house-fortress", how much cruelty, hypocrisy, and mutilated destinies are hidden behind them.

CHAPTER 3. EXPERIMENTAL AND PRACTICAL RESEARCH ON EMILIE BRONTE'S CREATIVITY

3.1 Sociological survey and comparative analysis of results

The purpose of this experimental-practical study is to reveal the opinion and knowledge of students and their attitude towards the work of Emily Bronte.

To successfully and effectively achieve the goal, we needed to create an interest group in the well-known social network Internet. In this group you can find a list of questions about the work of E. Bronte, as well as her biography, video and audio materials, films of various directors and translations famous classics poems of the poetess and writer Bronte. To do this, we needed to create an interest group in a well-known social network, where questions of a certain direction were posted, to which everyone could answer.

Few people know that Emily was a great poetess, many members of the group learned about it for the first time and were very interested in reading the poems of the great writer, as evidenced by the large number of comments directed to this topic.

In a sociological survey, the following poems were offered for answers: to the imagination, the old stoic, sympathy, stars, poems, hopes, stanzas, remembrance. The most memorable poem for the group members, as shown by the percentage of the given survey (89%), was the poem “remembrance”, it was about him that many reviews were written in the comments of the created group.

The following poll was devoted to numerous film adaptations this novel, because some people prefer to read a book first, and then watch a movie for comparison, or vice versa, and the most common option is to immediately watch a movie instead of reading a literary work.

The respondents were offered the following options for watching the film for which they voted on the Internet, it turned out that most of the girls, since their number in the group is dominant, gave their preference to the 1970 film, and for those who read the book and watched older adaptation, the 2011 film was not liked and numerous comments were also left about this. It turned out that most of the participants who joined the group believed that the characters were not emphasized with a certain force in this film, in addition, many events strongly diverge from the book, and basically, in the conclusions to it, it was mentioned that the film was not interesting to watch.

Suggested movies to watch:

* Wuthering Heights 1939 (1)

* Wuthering Heights 1970 (2)

* Wuthering Heights 1992 (3)

* Wuthering Heights 1998 (4)

* Wuthering Heights 2009 (5)

* Wuthering Heights 2011 (6)

The next version of the sociological survey was aimed at identifying opinions about the book Wuthering Heights by Emily Bronte (edit this paragraph according to the rules, you need the sentence to be full page)

This survey included the following questions:

1. Why do you like/dislike Wuthering Heights?
2. What is your favorite positive novel character?
3. What is your favorite negative character in the novel?
four . When did you first read Wuthering Heights?
5 . How did you hear about the novel?
6. What literary direction do you think this novel belongs to (justify your position).

The results of an experimental and practical study showed that the majority of respondents like this novel because of its interesting nature. storyline. According to statistics, the favorite negative and positive hero are the same - this is Katherine Ershno and Heathcliff. Most of the people we interviewed believe that this work belongs to romanticism.

CONCLUSION

Wuthering Heights is the only novel by poet Emily Brontë and her most famous work. Thoughtful plot, innovative use of multiple narrators, attention to detail rural life in combination with a romantic interpretation of natural phenomena, a vivid figurative system and a reworking of the conventions of the Gothic novel, make Wuthering Heights the standard of a novel of late romanticism and a classic early Victorian literature.

At the turn of the 19th - 20th centuries, a wave of interest in the work of E. Bronte rises again. Aestheticization of suffering, elements of mysticism, emphasized individualism, characteristic of the work of Oscar Wilde, are largely associated with the one whom he called "a strong spirit." E. Bronte was enthusiastically treated by modernists, in particular, Virginia Woolf.
The novel "Wuthering Heights" largely determined the direction of the creative search for national literature in the 20th century. It is no coincidence that Somerset Maugham considered it necessary to put him in the top ten novels published in the world.

In the 21st century, interest in this novel does not fade away, but rather grows with incredible force. This was proved by our research on social networks on the Internet. A lot of people joined the group we created, dedicated to creativity the great writer Emily Bronte, discussing in the comments the great novel Wuthering Heights, as well as amazing poems filled with extraordinary sensitivity and knowledge of the human soul. As the results of a sociological study showed, many members of the group did not know that Emily was a great poetess and read only her one and only novel.

Without a doubt, this novel is a mystery that you can think about endlessly. A novel that overturns all the usual ideas about Good and Evil, Love and Hate. Emily Bronte makes the reader look at these categories with a completely different look, she mercilessly mixes the unshakable layers of life's composition, while shocking us with her impartiality. Life is wider than any definitions, wider than our ideas about it - this thought confidently breaks through the text of the novel.

Wuthering Heights by Emily Bronte is not just a golden classic of world literature, but a novel that turned the notion of romantic prose upside down in its time. Years and decades pass, but the story of the fatal passion of Heathcliff, the adopted son of the owner of the Wuthering Heights estate, for the owner's daughter Catherine does not lend itself to the passage of time. "Wuthering Heights" has been read for many generations of women - they continue to be read even now. This book does not age, just as true love does not age.

BIBLIOGRAPHY

Books:

Wackenroder V.G. Fantasies about art / M., Bustard; 2011;
Wolf W. Essay. – M.: ed. AST, 2004. S. 809-813.
Mitrofanova E. The fatal secret of the Bronte sisters. – M.: ed. Terra-Book Club, 2008.
Pushkin A.S. Eugene Onegin / M., School Library, 2009, p57
Charlotte Brontë and Another Lady. Emma // The Brontë Sisters in England. – M.: ed. AST, 2001.
Schlegel F. World of Philosophy / N. Novgorod; Enlightenment; 2012; volume 2

Magazines:

Bataille J. Emily Bronte and Evil// Critic. - 1957 (No. 117).

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