There were many topics in Emily Bronte’s Wuthering Heights that were offensive to Victorian elites. The Literary Canon of the West was established to gather texts that the establishment deemed ‘worthy of studying’. It was formed from what were described as ‘universal theme’ and aesthetic’ quality. It is rare for texts, especially those that deviate from the set ‘qualities’ fixed by the establishment, to be added to this canon. However, it is possible for them to remain covered in ambiguity. The canon is designed for categorizing distinct and timeless literature. However the selected works are complex enough that they can be considered to be ‘unified.’ This makes the canon a complex, contradictory and arbitrarily constructed category. The merits and meaning of each work are ultimately left to their contexts and should not be assigned a ‘ruling ideology’.
Emily Bronte’s Wuthering Heights ranks among the canonical works. This is due to its transcendence with certain readers which defies expectations that such a text should be considered ‘non-offensive. Charlotte Bronte also felt this way. She said that it wasn’t ‘right’ or advisable for Heathcliff to be created. His divisive behaviours are a prime example of the contradictions inherent in the Canon. It is often the things that others find valuable that people detest in Wuthering Heights. Bronte takes a much more direct approach to Wuthering Heights’s plight than many other canonical works. This politicisation, while a reference to the constant clashes that nature can cause, is not a criticism. It was, however, a reflection on how the author became far too involved in the realities of emerging Feminism to receive any formal recognition. Bronte centers the story around the brutality that Cathy is, which still manages to subdue Heathcliff and Linton–a completely unorthodox female at the time. Bronte does not use the suppression she experienced in her lifetime in a normal way. Her novel is subsequently seen as the universal themes’ of generic canonical texts by the ruling class.
Cathy’s (in)famous declaration “I am Heathcliff! He’s always, ever in my mind: Not as a joy, any more than he is always a delight” isn’t the opening of the Romantic manifesto. This is Bronte’s summary of her character’s complex codependency with her adopted sibling. This is a way of foreshadowing their dual doom. They would no longer be considered to possess objectively exceptional aesthetic qualities. The Bronte’s dysfunctional creations set a disturbing example. Many people will not be able to relate to the Bronte characters. This view is not common in the minds of those who read ‘Wuthering Heights’ by Bronte. The novel won’t appeal to everyone. Its wild characters are a complex collection of contradictions that should not be encouraged by society to reach beyond their social group. Bronte’s appeal lies in the fact that their characters are flawed, which means they cannot be included in a canon that proclaims to have universally divine value.
The canon’s language is often complex and ambiguous. Critics appreciate the craftmanship of the writer. Bronte’s ‘Wuthering Heights” is deliberately inelegant, uncontrolled. It will be mine; and I’ll get his gold back. And then his blood.” The images are simple and dramatic and conjure images of “hell”, “blood,” and “hell” that make the novel seem uncouth and gory to critics and readers, which is quite different from the tropes found in the canon. Bronte’s novel’s story is structured in a repetitive manner. The novel’s plot, characters, and narrators are all repeated in impacting words and phrases. Hareton and Catherine’s hopeful ending is the only exception to this vicious cycle. This makes the novel much more accessible than canon texts, as it mirrors many of the real world social and aesthetic problems that the readers face. The novel’s parallel arcs are characterized by Bronte’s vivid, diverse and enchanting language. Comparing Lockwood’s opening prose to Joseph’s regional codes to Cathy’s poetic pleads to be universally regarded, it is easy to see that Lockwood’s upper-class language is not as sophisticated and rich as Joseph’s.
Tolstoy’s works fall in the realms the canon. Anna Karenina his masterpiece is the ultimate transcendental fantasy fulfillment. The pursuit and eventual tragic end of an unsavory affair leads to tragedy. This is in spite of the mockery of high society and the hypocrisy that it brings about. Although it may seem scandalous, Tolstoy is a master at creating novels that touch the heart of human emotions and rebellious yearnings. Although there are many interpretations of the politics in Wuthering Heights, their vulgarity, focus on the powerless and emphasis on the weak prevent them from being associated with the more common, non-offensive or universal themes canonical texts, such as Tolstoy’s.
Although ‘Wuthering Heights is well-reviewed, it’s still a worthwhile read. The shock generated by the novel’s portrayal of brutal class, gender, or ethnic divides in its characters is what makes it valuable. While the novel is not objectively artistic in its portrayal of aspirational circumstances, it could be dismissed by society as having a greater appreciation for the dramatic images of unusual personal circumstances. The culture in which it is read and the fortunes that its readers make it a success are the only things that define the value of the book. The subjective concept of a ‘Canon, which is often dismissed because of its artistic merit, also plays a role in the story’s overall worth. Eagleton, along with others, have identified this flaw as being due to the fact that each Canon’ was constructed by the ruling classes in an attempt culturely to oppress the lower order.
Its utilitarian qualities are what make the novel so valuable. Bronte centers the novel on the consequences of Mr. Earnshaw adopting Heathcliff as a charity. In this book, she seeks out to bring to light the tragedies faced by Victorian society’s stigmatized people because of their physical features. This is unusual for the Canon, who aims to promote ‘art’s sake’ and avoid adding more controversial or politicised texts. Eagleton would disagree, stating that such an aim is unnecessary. All texts, albeit unconsciously, are also political. Linton’s desire to be “as grievous & harassing as he possibly can” encourages the reader’s reflection on mental and physically sick people. Linton’s “perverseness, an indulged disease of a childhood” makes it difficult for both characters and readers. He is also a victim of childish ignorance and contributed to Catherine’s imprisonment by Heathcliff. Bronte’s use of the marriage is an example of male society’s unpalatable suppression of female autonomy.
Literary value is typically a concept that depends on its context. Wuthering Heights can be enjoyed as a cautionary tale by those who are not familiar with it. However, Bronte has given it primitive intensities that make it a compelling fantasy. It would be absurd to consider the Canon a literary ‘greatness’. But, the assumption that it lacks practical value makes it seem absurd. Tolstoy would have considered the class and gender conflicts depicted by Bronte and Tolstoy as useless. In reality, Wuthering Heights serves to satisfy banal needs and provides practical empathy with society’s constrained.
This evidence can show that Cathy and Heathcliff are probably figuratively seated shoulder-to-shoulder alongside the Tolstoys in the fictional worlds. Wuthering Heights, while considered boring by most, is still highly regarded. Asimov said that self-education was the best type. This is true for both literature and science. The most valuable literary experiences often take place away from the school’s political landscape. These are often enhanced by the individual’s reflections on the art, rather than forced judgments. The world is known for Wuthering Heights’ originality, rebellious themes and incarnation of basic desires that are seldom allowed to escape from polite society. This, in the eyes of keen readers, makes it a well-respected novel. It is irrelevant what the novel’s position on the canon means for its vast and existing merit.
