As readers we feel confused by the events of the first chapter

From the step upset, Bront bring abouts an air of whodunit in both the reputations and place setting that contri hardlyes to the conflate-up felt by the lector. Many of the ideas and symbols used in the depression chapter of the book epitomise the technique utilised by Bront throughout the sweet. Wuthering senior high has been draw ind as a Chaotic novel1and many believe that it is mean to confuse and be unfoundeder the reader.After reading the first chapter, the reader is bewildered near the situation and questions argon left unanswered. We be unsure about many of the facts. We know the date is 1801 and that Lockwood is a tenant of Heathcliffs at Thrushcross Grange, get ahead we are unaware of any of the characters signifi shadowce in the novel. We are introduced to the servant, Joseph, and soon encounter Zillah, although we are not told her name. The reader is not informed of the relationships surrounded by any of the characters. Bront purposefully keeps the fact s ambiguous, which emphasises the feelings of confusion.Bronts tone and style is mysterious and forewarning from the beginning. In particular, the use of verbal descriptions such as gaunt, defended, jutting, crumbling and grotesque add to the grim feel of the novel from the parachuting and the seemingly impenetrable facade of the characters. As readers, we are intend to feel an comparison with Lockwood, who is portrayed as completely alien to the situation. Bront uses many symbols which continue throughout the novel to designate this.When Lockwood first arrives at the highschool, the halo is unwelcoming, a perfect misanthropists Heaven. His entrance to Wuthering senior high school is made difficult and uncomfortable, he did pull out his hand to unchain it, and then sullenly proceeded me up the causeway and the greeting is morose from Joseph, looking meantime in my face so sourly that I charitably conjectured he must have convey of divine aid to digest his dinner. Heathcliffs a brupt attitude towards Lockwood, appeared to demand (his) warm entrance or complete departure. The doorway into the house is then unemotional by grotesque carvings that reiterates that Lockwood is unwelcome.The famous essay, The Window Image in Wuthering senior high school by Dorothy Van Ghent puts across the point that doors and windows are used symbolically in Wuthering Heights. Characters are unable, or find it difficult, to enter or leave Wuthering Heights. In the first chapter, we see a glimpse of this human beingnesss in Lockwoods uncomfortable entrance into Wuthering Heights. Phrases such as, gaunt thorns all stretchability their limbs one way, as if craving alms of the sun give the impression of people being pin down, an idea expressed by Bront in the novel as a whole. Wuthering heights at first appears to be a place trapped in time, al close to, completely removed from the stir of society. The building, dated 1500 is 300 eld old, which suggests a hi horizontal surfac e to the building.Later in the novel, the perception that Wuthering Heights and its characters are trapped is extended. The idea is epitomised by the ghost of Catherine that appears to Lockwood. The repeated use of double throughout the book also adds to this execution. Hareton Earnshaw is inscribed on the entrance to Wuthering Heights and is also a character currently living at the Heights when Lockwood visits. The two Cathys in the novel notably add to the confusion and mystery created in the book. This heightens the effect of Wuthering Heights as a place which seems to give time. There are many more examples of this in the novel. Frank Kermode has pointed out that the name on the windowsill when read left to rights show the elder Catherines life, but left to right, the youngers. This gives an example of how the characters lives are confusingly entwined during the course of the novel and adds to admiration in the reader.In the first chapter, we are introduced by Lockwood to th e vast enormousness of weather in Wuthering HeightsWuthering being a significant tike adjective, descriptive of the atmospheric tumult to which its station is exposed in breezy weatherHere, Bront prefaces one of the most major symbols used in Wuthering Heights. portraying of the novel, from modern films to old paintings inevitably includes the imagery of the moors and tumultuous sky and wild landscape.2Even in the opening paragraphs, the connotations suggested by words such as wilderness and jutting suggest a feeling of defencelessness to the reader. The landscape and weather is portrayed as all-present, much reoccurring in metaphors and in the characters themselves, such as the stormy3Catherine. The reader feels overpowered and misidentify by the depth of thought in the novel as a whole and the vagueness of the first chapter. Tumult, gaunt, crumbling and craving when used to describe the surroundings at Wuthering Heights, also, concurrently describes the feeling of confusion and helplessness that the reader experiences at the beginning of the novel.The confusion and feeling of being trapped in the novel is likely to be directly linked to Bronts own confusion and withdrawal from the world. Many of the Gondal poems Emily wrote as an break included situations in which characters were trapped, often in prisons from which they could simply escape through the imagination. Scholars such as Mary Visack have noted a progression in Emilys work from the poems to the novel in this way.This poem by Bront shows uses of nature and weather, as well as really powerful language, descending, drear, down(p)ening, to describe the same feeling of loneliness and isolation depicted in Wuthering Heights.The darkness is darkening round me,The wild winds coldly blowBut a tyrant spell has bound meAnd I cannot, cannot go.The giant trees are crookTheir bare boughs weighed with snow,And the storm is fast descendingAnd yet I cannot go.Clouds beyond clouds above me,Wastes beyond wastes belowBut nothing drear can move meI will not, cannot go.The reader feels not only an affinity with Lockwood and his own confusion and isolation, but also with Bronts own feelings at that time. Also, these feelings are symbolic of Cathys loss of power and helplessness later in the book. The reader feels isolated at first from the events of the text and unaware of what it means.Lockwood does not inhale confidence as a narrator during the first chapter. He frequently misjudges things, leading the reader to mistrust his initial opinions and views, adding to the confoundment felt at the start of the novel. The homely, northern farmer that Lockwood would expect is deeply contrasted by the rather morose reality of Heathcliff. The contrasts themselves in spite of appearance Heathcliff are another cause for confusion. Bront frequently utilises Lockwoods judgements in this way to further cloud the readers mind.He is a dark-skinned gypsy in aspect, in dress and manners a gentleman.He athcliffs description constantly contradicts itself. Lockwood then goes on to judge Heathcliff very quickly, by instinct. However, the overconfident manner in which he announces his opinions then dismisses them, No, Im running on to fast, puts the reader on guard. In his description of Wuthering Heights, Lockwoods view of what should be is opposed by the reality I detect no signs of roasting boiling or baking, about the huge fire-place. Bront uses dark imagery in phrases such as heavy black ones lurking in the shade, swarm of squealing puppies and other dogs haunted other recesses to re-emphasise the foreboding and unwelcoming feel to Wuthering Heights once again.The signs in Wuthering Heights appear to be unreadable. What Lockwood thought were cats were in fact dead rabbits. The dogs are four-footed fiends. The differentiate descriptions of Heathcliff are also perplexing and later Lockwood, and the reader, are unable to hound relationships between the characters. We are unsure i f Hareton is a servant or a master and we cannot understand Catherines relationships with other characters. This is mirrored, later, when the reader is confused about the names on the windowsill. We are unsure whether the Catherines are the same person or not. Later still, the reader is confused again when the civilised Lockwood horrifically rubs the young girls articulatio radiocarpea against the broken glass till the blood ran down and soaked the bedclothes.The eclectic smorgasbord of styles and qualities of the book in general add somewhat to its confusion. There is a frequent use of ghosts and spirits, yet as Patsy Stoneman denotes, it has qualities of a very down-to-earth book4. In the first chapter we see a reflection of this mix in the grim descriptions, which contrast with both Lockwood and the lusty dame. The violence hinted at with the dogs contrasts again with these styles and is a direct precursor to events later in the book. Wuthering Heights is an extremely well-stru ctured novel, in which Bront is able to control the readers thoughts and emotions to add to the powerful effect of the novel as a whole.In the first chapter, she is able to create an air of mystery, confusion and intrigue which is enhanced and expanded as the story unfolds. Still many critics find Wuthering Heights a preposterous text5 that is covering fire to frontand refuses to make sense by normal standards. There are certainly many levels the book can be read and enjoyed on. However, I think the most profound inwardness in the books confusion is the affinity it creates between Bront and the reader. This message is also mirrored later in the similarities between Bronts own character and Heathcliffs and the parallels drawn between Bronts own religious crisis and the character of Joseph. Essentially, Wuthering Heights is the only insight into the mysterious and reserved Emily Bront.