Wuthering Heights is a composite of opposites. Its two houses, its two families, its two generations, its two planes of existence are held in place by Emily Bronte's careful manipulation of repetitive, yet differentiated, symbols associated with each of these pairs. Using symbols to develop her polarities and to unify them along the imaginatively rendered horizontal axis connecting Wuthering Heights and Thrushcross Grange, the vertical axis connecting the novel's several "heavens" and "hells," and the third dimensional axis connecting the spiritual and corporeal worlds, Emily Bronte gives the divided world of Wuthering Heights an almost perfect symmetry. This study divides the more than seven hundred symbols into physical and nonphysical. The physical symbols are subdivided into setting, animal life, plant life, people, celestial objects, and miscellaneous objects. The fewer nonphysical symbols are grouped under movement, light, time, emotions, concepts, and miscellaneous terms. Verticality and thresholds, the two most important symbolic motifs, are drawn from both physical and nonphysical symbols.
| Identifer | oai:union.ndltd.org:unt.edu/info:ark/67531/metadc331610 |
| Date | 12 1900 |
| Creators | Madewell, Viola D'Ann |
| Contributors | Stevens, L. Robert, Kesterson, David B., 1938-, Wright, Eugene Patrick, 1936- |
| Publisher | North Texas State University |
| Source Sets | University of North Texas |
| Language | English |
| Detected Language | English |
| Type | Thesis or Dissertation |
| Format | v, 377 leaves, Text |
| Rights | Public, Madewell, Viola D'Ann, Copyright, Copyright is held by the author, unless otherwise noted. All rights reserved. |
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