Life, love, revenge & ‘Wuthering Heights’
June 20, 2004 | 12:00am
All that is gold does not glitter,
Not all those who wander are lost;
The old that is strong does not wither,
Deep roots are not reached by the frost
Miles away from the fast pace and cynicism of the capital, the moors beckon to brave souls ready to strip life to its bare essentials. A particular tale tells of family, loyalty and of innocence lost in a lifetime battle to win it back. Such is the premise of Emily Bronte’s Wuthering Heights.
At first glance, the title already suggests what the story is. The Emily Bronte classic has had so many remakes in films, even our local film industry boasts a version called Hihintayin Kita sa Langit.
The term "wuthering" comes from the Scottish word wuder which means a raging force. A force so powerful it can be likened to the strong winds of the north. "Heights" was obviously derived from the fact that the setting takes place in the moors, or what is referred to as the English land, both high and wild. The story itself takes into account three key locations: the moors and the unveiling of two houses as the story progressed, the first being Wuthering Heights and the second, Thrushcross Grange.
The moors served as home where heathers and plants of a similar nature grow. Its appeal is irresistible perhaps due to its dual sided approach to simplicity. On one hand its rough exterior could have one appreciate frankness, on the other hand, this very exterior could have one believe that there is something shrouded in mystery that is yet to be unveiled. It is in here that the main characters, kin spirits Heathcliff and Catherine Earnshaw, find joy in wandering. As children, they find a safe haven from the world and their simple dreams find sanctuary devoid of pretense that adults do not comprehend.
The house Wuthering Heights is distinguishable alone not by its quality but by its solitary state. Having weathered numerous storms in the past both of the actual and figurative kind, it still stands despite its consummation by antiquity and disrepair.
Thrushcross Grange’s existence is one of form. Its promise of change is likened to a breath of fresh air in the area. But unlike most changes, its adaptation lies in the surrounding factors, its change does not come from within. As a result, its displacement becomes evident. Its presence is abrupt and consuming to everyone that it comes across. Despite its regal and stately appearance, the house remains cold. No love radiates here.
Its preoccupation with formality, obligation and societal concerns is a form of pretense. With the practice of civility and fine clothes, despair and lack of character are masked by its inhabitants. Such an attempt reminds the reader of another literary work, Virginia Woolf’s Mrs. Dalloway whose main character’s preoccupation is throwing lavish parties to mask the silence. While it is true that the Lintons have an impressive residence, in their house of brick and mortar, one could not have found a lesser home.
Life is quite pleasant if left alone in its simplicity. But it is usually too late when we learn this. Complexities begin for Catherine Earnshaw when she begins to covet. In the film Silence of the Lambs, a profound statement by the psychotic Dr. Hannibal Lecter, is thought-provoking when he states: "One covets what one sees everyday." In the same manner, Catherine covets, naturally, what she does not possess. From fine things, sumptuous meals and other benefits that the Lintons enjoyed, Catherine Earnshaw gladly prefers Thrushcross Grange to her very own home. It is in such a house that she finds glitter in fool’s gold. Such glitter fuels her ego’s need for superficiality and innocent pleasures with Edgar Linton’s doting. He is the prime commodity that Catherine is willing to pay the ultimate price for – her identity. Indeed, Catherine affirms her innocence lost in her very words, "What life am I possibly to have with Heathcliff?"
Hurting from Catherine’s abandonment, Heathcliff’s reservoir of unexpressed feelings grows intolerable. His attempt to run away from all this makes him leave his mark on the world by becoming increasingly wealthy. To Heathcliff, wealth is merely a means and not the end as so many other stories would have it. It serves as a tool for future dealings with the Lintons and finally jolting Catherine to her senses.
Not to be mistaken, Heathcliff’s contempt of Edgar Linton and his dismissal of Edgar’s sister Isabella do not come out of envy. It is because in some way he knows of their nature. The Lintons are the kind who would toy around with people for their own amusement. They are spoiled and accustomed to getting what they want; such is generally typical of wealthy people.
Edgar is successful in reforming Catherine from what he regards as uncivilized behavior. Edgar’s character reminds one of the character of David in the play Sabrina Fair. David, just like Edgar, is one of those people who should be considered dangerous because they are an illusion. Heathcliff knows that Edgar will not let Catherine be herself and will not bring her happiness. Thus, he sees Edgar as a potential danger. Truly, Heathcliff knows Catherine more than she knows herself. Whereas Catherine is growing attached to an illusory Edgar Linton, Isabella is willing to satisfy her boredom by desiring to fashion Heathcliff into anything that might suit her purpose.
Just as the roots of heathers grow deep down on the moors, Heathcliff’s ability to remain true to his nature and look back to his past are commendable qualities. Despite his Cro-Magnon like disposition that at times appear vulgar and uncouth, he reminds one of the dual-sided treatment, just as one’s judgment of the moors. Heathcliff’s vulgarity and uncouth language can make one appreciate of truth, frankness and honesty – qualities seem to be that of a child’s, unconcealed by societal dictates and by any hidden agenda.
While Wuthering Heights is known as a story of love and one that only a true poet would understand(on the deaths of the two main characters similar to that of William Shakespeare’s), Emily Bronte regarded familial love in the highest degree among all. True unconditional, familial love, no matter how dysfunctional and imperfect it is, reminds people of how great one’s need is to have it.
Not all those who wander are lost;
The old that is strong does not wither,
Deep roots are not reached by the frost
Miles away from the fast pace and cynicism of the capital, the moors beckon to brave souls ready to strip life to its bare essentials. A particular tale tells of family, loyalty and of innocence lost in a lifetime battle to win it back. Such is the premise of Emily Bronte’s Wuthering Heights.
At first glance, the title already suggests what the story is. The Emily Bronte classic has had so many remakes in films, even our local film industry boasts a version called Hihintayin Kita sa Langit.
The term "wuthering" comes from the Scottish word wuder which means a raging force. A force so powerful it can be likened to the strong winds of the north. "Heights" was obviously derived from the fact that the setting takes place in the moors, or what is referred to as the English land, both high and wild. The story itself takes into account three key locations: the moors and the unveiling of two houses as the story progressed, the first being Wuthering Heights and the second, Thrushcross Grange.
The moors served as home where heathers and plants of a similar nature grow. Its appeal is irresistible perhaps due to its dual sided approach to simplicity. On one hand its rough exterior could have one appreciate frankness, on the other hand, this very exterior could have one believe that there is something shrouded in mystery that is yet to be unveiled. It is in here that the main characters, kin spirits Heathcliff and Catherine Earnshaw, find joy in wandering. As children, they find a safe haven from the world and their simple dreams find sanctuary devoid of pretense that adults do not comprehend.
The house Wuthering Heights is distinguishable alone not by its quality but by its solitary state. Having weathered numerous storms in the past both of the actual and figurative kind, it still stands despite its consummation by antiquity and disrepair.
Thrushcross Grange’s existence is one of form. Its promise of change is likened to a breath of fresh air in the area. But unlike most changes, its adaptation lies in the surrounding factors, its change does not come from within. As a result, its displacement becomes evident. Its presence is abrupt and consuming to everyone that it comes across. Despite its regal and stately appearance, the house remains cold. No love radiates here.
Its preoccupation with formality, obligation and societal concerns is a form of pretense. With the practice of civility and fine clothes, despair and lack of character are masked by its inhabitants. Such an attempt reminds the reader of another literary work, Virginia Woolf’s Mrs. Dalloway whose main character’s preoccupation is throwing lavish parties to mask the silence. While it is true that the Lintons have an impressive residence, in their house of brick and mortar, one could not have found a lesser home.
Life is quite pleasant if left alone in its simplicity. But it is usually too late when we learn this. Complexities begin for Catherine Earnshaw when she begins to covet. In the film Silence of the Lambs, a profound statement by the psychotic Dr. Hannibal Lecter, is thought-provoking when he states: "One covets what one sees everyday." In the same manner, Catherine covets, naturally, what she does not possess. From fine things, sumptuous meals and other benefits that the Lintons enjoyed, Catherine Earnshaw gladly prefers Thrushcross Grange to her very own home. It is in such a house that she finds glitter in fool’s gold. Such glitter fuels her ego’s need for superficiality and innocent pleasures with Edgar Linton’s doting. He is the prime commodity that Catherine is willing to pay the ultimate price for – her identity. Indeed, Catherine affirms her innocence lost in her very words, "What life am I possibly to have with Heathcliff?"
Hurting from Catherine’s abandonment, Heathcliff’s reservoir of unexpressed feelings grows intolerable. His attempt to run away from all this makes him leave his mark on the world by becoming increasingly wealthy. To Heathcliff, wealth is merely a means and not the end as so many other stories would have it. It serves as a tool for future dealings with the Lintons and finally jolting Catherine to her senses.
Not to be mistaken, Heathcliff’s contempt of Edgar Linton and his dismissal of Edgar’s sister Isabella do not come out of envy. It is because in some way he knows of their nature. The Lintons are the kind who would toy around with people for their own amusement. They are spoiled and accustomed to getting what they want; such is generally typical of wealthy people.
Edgar is successful in reforming Catherine from what he regards as uncivilized behavior. Edgar’s character reminds one of the character of David in the play Sabrina Fair. David, just like Edgar, is one of those people who should be considered dangerous because they are an illusion. Heathcliff knows that Edgar will not let Catherine be herself and will not bring her happiness. Thus, he sees Edgar as a potential danger. Truly, Heathcliff knows Catherine more than she knows herself. Whereas Catherine is growing attached to an illusory Edgar Linton, Isabella is willing to satisfy her boredom by desiring to fashion Heathcliff into anything that might suit her purpose.
Just as the roots of heathers grow deep down on the moors, Heathcliff’s ability to remain true to his nature and look back to his past are commendable qualities. Despite his Cro-Magnon like disposition that at times appear vulgar and uncouth, he reminds one of the dual-sided treatment, just as one’s judgment of the moors. Heathcliff’s vulgarity and uncouth language can make one appreciate of truth, frankness and honesty – qualities seem to be that of a child’s, unconcealed by societal dictates and by any hidden agenda.
While Wuthering Heights is known as a story of love and one that only a true poet would understand(on the deaths of the two main characters similar to that of William Shakespeare’s), Emily Bronte regarded familial love in the highest degree among all. True unconditional, familial love, no matter how dysfunctional and imperfect it is, reminds people of how great one’s need is to have it.
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