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Wuthering Heights
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Another cover edition for this ISBN
One of the most passionate and heartfelt novels ever written, Wuthering Heights tells of the relationship between Catherine Earnshaw and Heathcliff, the orphan boy her father adopted and brought to Wuthering Heights when they were children.
While Catherine forms a deep attachment to Heathcliff, her brother Hindley despises him as a rival. Heathcliff becomes torn between love for Catherine and the rage and humiliation he suffers. Finally he can stand it no longer and, in the violence of a summer storm, leaves the Heights for three years. During his absence Catherine has married, but her tormented heart belongs eternally to Heathcliff who is now prepared to exact his tyrannical revenge.
With its freedom from social convention and its unparalleled emotional intensity, Wuthering Heights is a highly original and deeply tragic work.
One of the most passionate and heartfelt novels ever written, Wuthering Heights tells of the relationship between Catherine Earnshaw and Heathcliff, the orphan boy her father adopted and brought to Wuthering Heights when they were children.
While Catherine forms a deep attachment to Heathcliff, her brother Hindley despises him as a rival. Heathcliff becomes torn between love for Catherine and the rage and humiliation he suffers. Finally he can stand it no longer and, in the violence of a summer storm, leaves the Heights for three years. During his absence Catherine has married, but her tormented heart belongs eternally to Heathcliff who is now prepared to exact his tyrannical revenge.
With its freedom from social convention and its unparalleled emotional intensity, Wuthering Heights is a highly original and deeply tragic work.
279 pages, Paperback
First published December 1,1847
This edition
- Format
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279 pages, Paperback
- Published
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January 13, 2007 by Penguin Books
- ISBN
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9780140620122
- ASIN
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0140620125
- Language
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English
Characters More characters
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Heathcliff
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Edgar Linton
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Isabella Linton
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Hindley Earnshaw
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About the author
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Emily Jane Brontë was an English novelist and poet, now best remembered for her only novel Wuthering Heights, a classic of English literature. Emily was the second eldest of the three surviving Brontë sisters, being younger than Charlotte Brontë and older than Anne Brontë. She published under the masculine pen name Ellis Bell.
Emily was born in Thornton, near Bradford in Yorkshire to Patrick Brontë and Maria Branwell. She was the younger sister of Charlotte Brontë and the fifth of six children. In 1824, the family moved to Haworth, where Emily's father was perpetual curate, and it was in these surroundings that their literary oddities flourished. In childhood, after the death of their mother, the three sisters and their brother Patrick Branwell Brontë created imaginary lands (Angria, Gondal, Gaaldine, Oceania), which were featured in stories they wrote. Little of Emily's work from this period survived, except for poems spoken by characters (The Brontës' Web of Childhood, Fannie Ratchford, 1941).
In 1842, Emily commenced work as a governess at Miss Patchett's Ladies Academy at Law Hill School, near Halifax, leaving after about six months due to homesickness. Later, with her sister Charlotte, she attended a private school in Brussels. They later tried to open up a school at their home, but had no pupils.
It was the discovery of Emily's poetic talent by Charlotte that led her and her sisters, Charlotte and Anne, to publish a joint collection of their poetry in 1846, Poems by Currer, Ellis, and Acton Bell. To evade contemporary prejudice against female writers, the Brontë sisters adopted androgynous first names. All three retained the first letter of their first names: Charlotte became Currer Bell, Anne became Acton Bell, and Emily became Ellis Bell. In 1847, she published her only novel, Wuthering Heights, as two volumes of a three volume set (the last volume being Agnes Grey by her sister Anne). Its innovative structure somewhat puzzled critics. Although it received mixed reviews when it first came out, the book subsequently became an English literary classic. In 1850, Charlotte edited and published Wuthering Heights as a stand-alone novel and under Emily's real name.
Like her sisters, Emily's health had been weakened by the harsh local climate at home and at school. She caught a chill during the funeral of her brother in September, and, having refused all medical help, died on December 19, 1848 of tuberculosis, possibly caught from nursing her brother. She was interred in the Church of St. Michael and All Angels family capsule, Haworth, West Yorkshire, England.
Emily was born in Thornton, near Bradford in Yorkshire to Patrick Brontë and Maria Branwell. She was the younger sister of Charlotte Brontë and the fifth of six children. In 1824, the family moved to Haworth, where Emily's father was perpetual curate, and it was in these surroundings that their literary oddities flourished. In childhood, after the death of their mother, the three sisters and their brother Patrick Branwell Brontë created imaginary lands (Angria, Gondal, Gaaldine, Oceania), which were featured in stories they wrote. Little of Emily's work from this period survived, except for poems spoken by characters (The Brontës' Web of Childhood, Fannie Ratchford, 1941).
In 1842, Emily commenced work as a governess at Miss Patchett's Ladies Academy at Law Hill School, near Halifax, leaving after about six months due to homesickness. Later, with her sister Charlotte, she attended a private school in Brussels. They later tried to open up a school at their home, but had no pupils.
It was the discovery of Emily's poetic talent by Charlotte that led her and her sisters, Charlotte and Anne, to publish a joint collection of their poetry in 1846, Poems by Currer, Ellis, and Acton Bell. To evade contemporary prejudice against female writers, the Brontë sisters adopted androgynous first names. All three retained the first letter of their first names: Charlotte became Currer Bell, Anne became Acton Bell, and Emily became Ellis Bell. In 1847, she published her only novel, Wuthering Heights, as two volumes of a three volume set (the last volume being Agnes Grey by her sister Anne). Its innovative structure somewhat puzzled critics. Although it received mixed reviews when it first came out, the book subsequently became an English literary classic. In 1850, Charlotte edited and published Wuthering Heights as a stand-alone novel and under Emily's real name.
Like her sisters, Emily's health had been weakened by the harsh local climate at home and at school. She caught a chill during the funeral of her brother in September, and, having refused all medical help, died on December 19, 1848 of tuberculosis, possibly caught from nursing her brother. She was interred in the Church of St. Michael and All Angels family capsule, Haworth, West Yorkshire, England.
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5 tormenting and passionate stars for a reading experience like no other, because never have I read a book that altered my emotions so many times in one book. My feelings moved in waves between compassion and despair, admiration and loathing, pity but always regret. Victims or tormentors – that’s for you to decide.
For me, Wuthering Heights is an epic and timeless classic that has everything; obsession, greed, revenge, grief, emotional abuse, inequality, and even light horror. Everything except the thing most associated with this story. In my opinion, this is not a love story – it is the most beautiful love story that never happened, and in that lies the tragedy and the power of this book.
It is a sobering waste of life and love, as the cruelty and selfishness of the characters shape their own story against the rigidity of an intolerant class system that pretty much predestined their fate anyway. Yet the unbreakable bond that existed between the two main characters sees them pursue each other – but always when it was too late, with the haunting realisation that this self-destruction is set to continue into the next generation as the sins of the parents threaten to live on through the children with the same cruelty and brutality they heaped on each other.
A brutal yet passionate story. A story about love, desire, and obsession but with ugly consequences, made all the more intense for its Victorian England setting.
In fact, Victorian realism at its best. Raw, rigid, unforgiving, and profoundly devastating.
The plot
Heathcliff becomes part of the family as Thrushcross Grange, when Mr Earnshaw takes the orphaned boy home to be part of the family. Accepted by Cathy, but bullied by Hindley, Heathcliff’s early start in life is sad and pitiful. Contrast that to the man who becomes obsessed with Cathy, and whose life is turned upside down when the teenage Cathy ultimately chooses wealth over love and marries Linton.
Overhearing a conversation where Cathy admits that Heathcliff will never be a man of means, he flees the Grange and only returning when he has acquired a fortune. What he didn’t hear from the last part of the conversation was Cathy professing her unwavering love for Heathcliff with the iconic words ‘I am Heathcliff’, and later ‘I cannot live without my life. I cannot love without my soul’, despite now being married to someone else. A haunting tale as the flawed decisions and their self-destructive nature dam the lives and outcomes of these soulmates.
However, in an act of revenge Heathcliff marries Cathy’s sister-in-law, Isabella, and fathers the son who is then to meet Cathy’s daughter in the second half of the book. Hope or hopelessness?
Review and Comments
Not all stories have to be cheerful with happy endings – after all that’s life, but it is how we respond to those that defines us. This brings me straight to the characterisation in the book, which is absolutely superb. Whether you like or loathe these characters, there is no doubt they were brilliantly cast. In fact, as a character study not one of the characters can elicit a single ounce of admiration from its readers, with the exception of the young Cathy and Hareton. Yet they all make tremendous book characters.
The writing style is perfect for the storyline and even the dull palette colours depicting the moors and weather reflects the mood of the book and sense of forlorn and hopelessness, as does Wuthering Heights itself. A place naked to the elements, with surroundings that are untamed and raw that mirror the characters central to the story.
A Love story? – Although romantism has a powerful influence on the story, this is not a love story. Instead, it is a powerful story of love and unity of two souls, in life and in death. The iconic words will resonate with many, "I am Heathcliff", as Cathy explains .. "because he's more myself than I am. Whatever our souls are made of, his and mine are the same". Those words get me in the feelers every time. Powerful and heartbreaking.
From the outset and throughout, I was invested in this story, the writing and particularly with the characters as you feel this connected sense of cruelty, self-destruction, and mourning for the countless memories and happiness for the life and love that could have been - but never was. Yet as a reader we are left with guarded optimism for the future of the young Cathy and Heathcliff, or are they too caught in this perpetual cycle of self-destruction, like their parents.
The writing in these classics is not for everyone, and I confess to struggling with it at school. If you can embrace this writing style, then you will love it. In fact, I just finished a mainstream thriller and I turned to my husband and said 'now I really do need a fix from the classics'. If I had one niggle, I don’t like authors writing in local dialect that is too cryptic. For example “aut ne’ink” meaning “ought not think”. For me personally it disrupts the flow of the story, spoils the beautiful writing in these classics but brings little to it. Back to the book.
A painful drama and an unapologetic portrayal of the flawed and imperfect human mind and heart. Dark, chilling and so vividly depicted. Beautifully written but not a beautiful story. A book where love, grief, and betrayal fuel cruelty and revenge.
Heart-breaking, savage, and self-destructive. Nevertheless, a masterpiece, particularly in its characterisation and the character development.
For me, Wuthering Heights is an epic and timeless classic that has everything; obsession, greed, revenge, grief, emotional abuse, inequality, and even light horror. Everything except the thing most associated with this story. In my opinion, this is not a love story – it is the most beautiful love story that never happened, and in that lies the tragedy and the power of this book.
It is a sobering waste of life and love, as the cruelty and selfishness of the characters shape their own story against the rigidity of an intolerant class system that pretty much predestined their fate anyway. Yet the unbreakable bond that existed between the two main characters sees them pursue each other – but always when it was too late, with the haunting realisation that this self-destruction is set to continue into the next generation as the sins of the parents threaten to live on through the children with the same cruelty and brutality they heaped on each other.
A brutal yet passionate story. A story about love, desire, and obsession but with ugly consequences, made all the more intense for its Victorian England setting.
In fact, Victorian realism at its best. Raw, rigid, unforgiving, and profoundly devastating.
The plot
Heathcliff becomes part of the family as Thrushcross Grange, when Mr Earnshaw takes the orphaned boy home to be part of the family. Accepted by Cathy, but bullied by Hindley, Heathcliff’s early start in life is sad and pitiful. Contrast that to the man who becomes obsessed with Cathy, and whose life is turned upside down when the teenage Cathy ultimately chooses wealth over love and marries Linton.
Overhearing a conversation where Cathy admits that Heathcliff will never be a man of means, he flees the Grange and only returning when he has acquired a fortune. What he didn’t hear from the last part of the conversation was Cathy professing her unwavering love for Heathcliff with the iconic words ‘I am Heathcliff’, and later ‘I cannot live without my life. I cannot love without my soul’, despite now being married to someone else. A haunting tale as the flawed decisions and their self-destructive nature dam the lives and outcomes of these soulmates.
However, in an act of revenge Heathcliff marries Cathy’s sister-in-law, Isabella, and fathers the son who is then to meet Cathy’s daughter in the second half of the book. Hope or hopelessness?
Review and Comments
Not all stories have to be cheerful with happy endings – after all that’s life, but it is how we respond to those that defines us. This brings me straight to the characterisation in the book, which is absolutely superb. Whether you like or loathe these characters, there is no doubt they were brilliantly cast. In fact, as a character study not one of the characters can elicit a single ounce of admiration from its readers, with the exception of the young Cathy and Hareton. Yet they all make tremendous book characters.
The writing style is perfect for the storyline and even the dull palette colours depicting the moors and weather reflects the mood of the book and sense of forlorn and hopelessness, as does Wuthering Heights itself. A place naked to the elements, with surroundings that are untamed and raw that mirror the characters central to the story.
A Love story? – Although romantism has a powerful influence on the story, this is not a love story. Instead, it is a powerful story of love and unity of two souls, in life and in death. The iconic words will resonate with many, "I am Heathcliff", as Cathy explains .. "because he's more myself than I am. Whatever our souls are made of, his and mine are the same". Those words get me in the feelers every time. Powerful and heartbreaking.
From the outset and throughout, I was invested in this story, the writing and particularly with the characters as you feel this connected sense of cruelty, self-destruction, and mourning for the countless memories and happiness for the life and love that could have been - but never was. Yet as a reader we are left with guarded optimism for the future of the young Cathy and Heathcliff, or are they too caught in this perpetual cycle of self-destruction, like their parents.
The writing in these classics is not for everyone, and I confess to struggling with it at school. If you can embrace this writing style, then you will love it. In fact, I just finished a mainstream thriller and I turned to my husband and said 'now I really do need a fix from the classics'. If I had one niggle, I don’t like authors writing in local dialect that is too cryptic. For example “aut ne’ink” meaning “ought not think”. For me personally it disrupts the flow of the story, spoils the beautiful writing in these classics but brings little to it. Back to the book.
A painful drama and an unapologetic portrayal of the flawed and imperfect human mind and heart. Dark, chilling and so vividly depicted. Beautifully written but not a beautiful story. A book where love, grief, and betrayal fuel cruelty and revenge.
Heart-breaking, savage, and self-destructive. Nevertheless, a masterpiece, particularly in its characterisation and the character development.
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Certain novels come to you with pre-packaged expectations. They just seem to be part of literature's collective unconscious, even if they are completely outside of your own cultural referents. I, for instance, who have no particular knowledge of--or great love for--romantic, Anglo-Gothic fiction, came to Wuthering Heights with the assumption that I was picking up a melancholy ghost story of thwarted, passionate love and eternal obsession. Obsession turned out to be only accurate part of this presumption.
Having an image of Heathcliff and Cathy embracing n Gone with the Windn-style on a windy moor ironed in my mind, I was almost completely unprepared for the hermetic, moribund, bleak, vengeful, perverse, and yes--obsessive--novel that this really is. Don Quixote is not about windmills and Wuthering Heights is not really a love story. Heathcliff and Cathy's love affair (if it can be called that) is a narcissistic ("I am Heathcliff!" Cathy exclaims at one point), possessive, and imminently cruel relationship predicated on self-denial and an obsessiveness that relies not on passion, but rather borders on hatred. They are selfish, violent, and contriving people who have borne their fair share of abuses (mostly Heathcliff in this respect) and in turn, feel no compunction about raining similar abuses on those who they find beneath them.
Given this dynamic, it seems perhaps inevitable that these two characters would make not only themselves miserable, but everyone around them miserable--even after death. This is particularly easy to accomplish mainly because there are--with the exception of Mr. Lockwood, the tenant who rents a home from Heathcliff--no outside characters. Everyone in the novel (including the servants) is isolated, trapped between the same two homes, with the same two families, and have truly no chance of escaping any of the events and repercussions that occur.(One character makes a temporary escape, only to suffer all the more for it later.)
More important, however, is the fact that Heathcliff and Cathy don't even need be present (although they usually are in some fashion) for their influences to be felt by the other characters. The sins of the father, are literally, inherited and distributed among the next generation. The children of Wuthering Heights are not only physical doubles of their parents (At least 3 characters look like Cathy, and one resembles Heathcliff), but they are also spiritual stand-ins. They must suffer for past transgressions, and they must find a way to make amends for them. All, I might add, without the particular benefit of ever having the full story, the context that might be necessary to actually change their circumstances. Misery, it seems, is inevitable.
There is, of course, much more to be said about this novel. One could spend quite some time dissecting all the various repetitions and doublings, the narrative structure (the story is told by the housekeeper to the lodger who then writes it down as a diary entry), or the archetypal analogies and semi-biblical symbolism that seems to be implicit to every part of this story.
The point being, I suppose, that while Wuthering Heights may not be the wistful romance one (or maybe just I) expected to be, it is a particularly satisfying one for all of its dark and layered surprises.
Having an image of Heathcliff and Cathy embracing n Gone with the Windn-style on a windy moor ironed in my mind, I was almost completely unprepared for the hermetic, moribund, bleak, vengeful, perverse, and yes--obsessive--novel that this really is. Don Quixote is not about windmills and Wuthering Heights is not really a love story. Heathcliff and Cathy's love affair (if it can be called that) is a narcissistic ("I am Heathcliff!" Cathy exclaims at one point), possessive, and imminently cruel relationship predicated on self-denial and an obsessiveness that relies not on passion, but rather borders on hatred. They are selfish, violent, and contriving people who have borne their fair share of abuses (mostly Heathcliff in this respect) and in turn, feel no compunction about raining similar abuses on those who they find beneath them.
Given this dynamic, it seems perhaps inevitable that these two characters would make not only themselves miserable, but everyone around them miserable--even after death. This is particularly easy to accomplish mainly because there are--with the exception of Mr. Lockwood, the tenant who rents a home from Heathcliff--no outside characters. Everyone in the novel (including the servants) is isolated, trapped between the same two homes, with the same two families, and have truly no chance of escaping any of the events and repercussions that occur.(One character makes a temporary escape, only to suffer all the more for it later.)
More important, however, is the fact that Heathcliff and Cathy don't even need be present (although they usually are in some fashion) for their influences to be felt by the other characters. The sins of the father, are literally, inherited and distributed among the next generation. The children of Wuthering Heights are not only physical doubles of their parents (At least 3 characters look like Cathy, and one resembles Heathcliff), but they are also spiritual stand-ins. They must suffer for past transgressions, and they must find a way to make amends for them. All, I might add, without the particular benefit of ever having the full story, the context that might be necessary to actually change their circumstances. Misery, it seems, is inevitable.
There is, of course, much more to be said about this novel. One could spend quite some time dissecting all the various repetitions and doublings, the narrative structure (the story is told by the housekeeper to the lodger who then writes it down as a diary entry), or the archetypal analogies and semi-biblical symbolism that seems to be implicit to every part of this story.
The point being, I suppose, that while Wuthering Heights may not be the wistful romance one (or maybe just I) expected to be, it is a particularly satisfying one for all of its dark and layered surprises.
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"all i care about in this goddamn life are me, my drums, and you"...
if you don't know that quote, you're probably too young to be reading this and isn't it past your bedtime or shouldn't you be in school or something?
but that quote, hyper-earnest cheese - that is romance. wuthering heights is something more dangerous than romance. it's one long protracted retaliation masquerading as passion. and goddamn do i love it. i can't believe i haven't reviewed it before - i mention this book in more than half of my reviews, i have a whole shelf devoted to its retellings, so why the delay?? but better late than never.
no, it's not a perfect novel; it's a flawed structure revealing the actions of seriously flawed people. the framing device-within-a-framing-device? totally awkward. having nelly dean tell the story even though where was she for most of the action? totally wrong move, bronte; it makes the beginning such a slog to get through. but that's just stale loaf - the good stuff is all the meat in between.
and oh, the meat... the swarthy stranger of mysterious origins being raised in a family of sheltered overmoist english mushrooms, all pale and rain-bloated, the running wild, two-souls-against-the-world adolescence...childhood indiscretions... vows and tantrums, bonding, unspoken promises, yes i will yes i will yes i will. oh, but wait, what's this??...it's blond and it's rich and it's whats expected of me. very well then. see ya, heathcliff...
it's just textbook gothic from here on out: revenge-seduction, overheard conversations, mysterious disappearances, murdered puppies, swooning, vindictive child-rearing, death, ghosts, moors, phoar...
but this to me, is a perfect love story, even though it's more like torture. the unattainable is always more romantic than the storybook. i don't like an uncomplicated ending, and a story is more impactful with nuanced characters, preferably heavily unlikeable throughout. (this is where i plug head-on - one of my favorite movies ever. do it.)this story just makes me feel good. and i'm well over my teenage fascination with the "bad boy"; i realized pretty quick that "bad boys" are usually pretty dumb. so i moved on to "emotionally disturbed", which is the same thing, really; plenty of drama, and they will leave you drunken "presents" on your lawn (road signs, carousel ponies..), but not complete burnouts, at least. but my teenaged dating pool is neither here nor there, the point is that heathcliff can be romanticized as this victim/villain without having to correspond to the ideal. it's about the level of passion, the size of the grand romantic gesture. devoting your life to destroying the people who kept you from your true love is an amazingly grand gesture.
come to my blog!
if you don't know that quote, you're probably too young to be reading this and isn't it past your bedtime or shouldn't you be in school or something?
but that quote, hyper-earnest cheese - that is romance. wuthering heights is something more dangerous than romance. it's one long protracted retaliation masquerading as passion. and goddamn do i love it. i can't believe i haven't reviewed it before - i mention this book in more than half of my reviews, i have a whole shelf devoted to its retellings, so why the delay?? but better late than never.
no, it's not a perfect novel; it's a flawed structure revealing the actions of seriously flawed people. the framing device-within-a-framing-device? totally awkward. having nelly dean tell the story even though where was she for most of the action? totally wrong move, bronte; it makes the beginning such a slog to get through. but that's just stale loaf - the good stuff is all the meat in between.
and oh, the meat... the swarthy stranger of mysterious origins being raised in a family of sheltered overmoist english mushrooms, all pale and rain-bloated, the running wild, two-souls-against-the-world adolescence...childhood indiscretions... vows and tantrums, bonding, unspoken promises, yes i will yes i will yes i will. oh, but wait, what's this??...it's blond and it's rich and it's whats expected of me. very well then. see ya, heathcliff...
it's just textbook gothic from here on out: revenge-seduction, overheard conversations, mysterious disappearances, murdered puppies, swooning, vindictive child-rearing, death, ghosts, moors, phoar...
but this to me, is a perfect love story, even though it's more like torture. the unattainable is always more romantic than the storybook. i don't like an uncomplicated ending, and a story is more impactful with nuanced characters, preferably heavily unlikeable throughout. (this is where i plug head-on - one of my favorite movies ever. do it.)this story just makes me feel good. and i'm well over my teenage fascination with the "bad boy"; i realized pretty quick that "bad boys" are usually pretty dumb. so i moved on to "emotionally disturbed", which is the same thing, really; plenty of drama, and they will leave you drunken "presents" on your lawn (road signs, carousel ponies..), but not complete burnouts, at least. but my teenaged dating pool is neither here nor there, the point is that heathcliff can be romanticized as this victim/villain without having to correspond to the ideal. it's about the level of passion, the size of the grand romantic gesture. devoting your life to destroying the people who kept you from your true love is an amazingly grand gesture.
come to my blog!
...
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The storytelling on this was spot on, almost like a bedtime story for adults. Couldn't put this down!
2025 Reading Schedule
JantA Town Like Alice
FebtBirdsong
MartCaptain Corelli's Mandolin - Louis De Berniere
AprtWar and Peace
MaytThe Woman in White
JuntAtonement
JultThe Shadow of the Wind
AugtJude the Obscure
SeptUlysses
OcttVanity Fair
NovtA Fine Balance
DectGerminal
Connect With Me!
Blog Twitter BookTube Insta My Bookstore at Pango
2025 Reading Schedule
JantA Town Like Alice
FebtBirdsong
MartCaptain Corelli's Mandolin - Louis De Berniere
AprtWar and Peace
MaytThe Woman in White
JuntAtonement
JultThe Shadow of the Wind
AugtJude the Obscure
SeptUlysses
OcttVanity Fair
NovtA Fine Balance
DectGerminal
Connect With Me!
Blog Twitter BookTube Insta My Bookstore at Pango
...
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(Book 902 from 1001 books) -Wuthering Heights, Emily Brontë
Wuthering Heights is Emily Brontë's only novel. Written between October 1845 and June 1846.
Most of the novel is the story told by housekeeper Nelly Dean to Lockwood, though the novel "uses several narrators (in fact, five or six) to place the story in perspective, or in a variety of perspectives".
Emily Brontë uses this frame story technique to narrate most of the story. Thus, for example, Lockwood, the first narrator of the story, tells the story of Nelly, who herself tells the story of another character. The use of a character, like Nelly Dean is "a literary device, a well-known convention taken from the Gothic novel, the function of which is to portray the events in a more mysterious and exciting manner".
بلندیهای بادگیر (عشق هرگز نمیمیرد) - امیلی برونته (نگاه ، جامی) ادبیات این کتاب نخستین بار در سال 1847میلادی منتشر شد؛
عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادخیز»؛ «بلندیهای بادخیز (وودرینگ هایتز)»؛ «بلندیهای بادگیر»؛ «بلندیهای بادگیر (وادرینگ هایتز)»؛ «بلندیهای بادگیر (عشق هرگز نمیمیرد)»؛ «بلندیهای بادگیر (وادرینگ هایتس)»؛ «بلندیهای بادگیر یا عشق هرگز نمیمیرد»؛ «به رزاییه کانی بهربا»؛ «عشق هرگز نمیمیرد»؛ «عشق هرگز نمیمیرد (بلندیهای بادگیر)»؛ «واترینگ هایتز»؛ «بلندیهای بادگیر (تا انتهای پر رنج عشق)»؛ «عشق هرگز نمیمیرد (بلندیهای بادخیز)»؛ تاریخ نخستین خوانش: سال 1977میلادی؛ بار دوم: سال 1998میلادی؛ و بار سوم: ماه می سال 2007میلادی
هر یک از عنوانهای بالا، بارها به زیور طبع آراسته شده اند، البته که با کوشش مترجمین و دیگران؛ اثر «امیلی برونته»، شاعر و نویسنده ی «بریتانیا» که بارها توسط مترجمهای نام آشنا، خانمها و آقایان «عبدالعظیم صبوری - در 299ص، در سال 1334هجری خورشیدی»، «ولی الله ابراهیمی در سال 1348هجری خورشیدی»، «داریوش شاهین»؛ «علی اصغر بهرام بیگی»، «پرویز پژواک»؛ «رباب امام»، «تهمینه مهربانی»، «حمید اکبری» و «زهرا احمدیان»، «فرزانه قلیزاده»، «نعیمه ظاهری»، «مریم صادقی»؛ «اکرم مظفری»، «فاطمه امینی»، «شادی ابطحی»، «فریده قراچه داغی (صمیمی)»؛ «مهدی سجودی مقدم»، «رضا رضایی»، و «نوشین ابراهیمی»، «مهدی غبرائی»، «هادی ریاضی»، «سمیه امانی» و «شهرام قوامی»؛ ترجمه و منتشر شده اند
وادِرینگ هایتس، در این داستان، نام عمارت خانوادگی «ارنشاو» است؛ و به معنی خانه ای است، که روی تپه و در معرض باد، ساخته شده است؛ داستان عشق آتشین و مشکلدار، میان «هیث کلیف»، و «کترین (کاترین) ارنشاو»، و اینکه همین عشق نافرجام، چگونه سرانجام این دو عاشق، و بسیاری از اطرافیانشان را، به نابودی میکشاند؛ «هیث کلیف»، کولیزاده ای است، که موفق به ازدواج با «کاترین» نمیشود، و پس از مرگ «کاترین» به انتقامجویی روی میآورد
تاریخ بهنگام رسانی 02/06/1399هجری خورشیدی؛ 12/05/1400هجری خورشیدی؛ ا. شربیانی
Wuthering Heights is Emily Brontë's only novel. Written between October 1845 and June 1846.
Most of the novel is the story told by housekeeper Nelly Dean to Lockwood, though the novel "uses several narrators (in fact, five or six) to place the story in perspective, or in a variety of perspectives".
Emily Brontë uses this frame story technique to narrate most of the story. Thus, for example, Lockwood, the first narrator of the story, tells the story of Nelly, who herself tells the story of another character. The use of a character, like Nelly Dean is "a literary device, a well-known convention taken from the Gothic novel, the function of which is to portray the events in a more mysterious and exciting manner".
بلندیهای بادگیر (عشق هرگز نمیمیرد) - امیلی برونته (نگاه ، جامی) ادبیات این کتاب نخستین بار در سال 1847میلادی منتشر شد؛
عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادخیز»؛ «بلندیهای بادخیز (وودرینگ هایتز)»؛ «بلندیهای بادگیر»؛ «بلندیهای بادگیر (وادرینگ هایتز)»؛ «بلندیهای بادگیر (عشق هرگز نمیمیرد)»؛ «بلندیهای بادگیر (وادرینگ هایتس)»؛ «بلندیهای بادگیر یا عشق هرگز نمیمیرد»؛ «به رزاییه کانی بهربا»؛ «عشق هرگز نمیمیرد»؛ «عشق هرگز نمیمیرد (بلندیهای بادگیر)»؛ «واترینگ هایتز»؛ «بلندیهای بادگیر (تا انتهای پر رنج عشق)»؛ «عشق هرگز نمیمیرد (بلندیهای بادخیز)»؛ تاریخ نخستین خوانش: سال 1977میلادی؛ بار دوم: سال 1998میلادی؛ و بار سوم: ماه می سال 2007میلادی
هر یک از عنوانهای بالا، بارها به زیور طبع آراسته شده اند، البته که با کوشش مترجمین و دیگران؛ اثر «امیلی برونته»، شاعر و نویسنده ی «بریتانیا» که بارها توسط مترجمهای نام آشنا، خانمها و آقایان «عبدالعظیم صبوری - در 299ص، در سال 1334هجری خورشیدی»، «ولی الله ابراهیمی در سال 1348هجری خورشیدی»، «داریوش شاهین»؛ «علی اصغر بهرام بیگی»، «پرویز پژواک»؛ «رباب امام»، «تهمینه مهربانی»، «حمید اکبری» و «زهرا احمدیان»، «فرزانه قلیزاده»، «نعیمه ظاهری»، «مریم صادقی»؛ «اکرم مظفری»، «فاطمه امینی»، «شادی ابطحی»، «فریده قراچه داغی (صمیمی)»؛ «مهدی سجودی مقدم»، «رضا رضایی»، و «نوشین ابراهیمی»، «مهدی غبرائی»، «هادی ریاضی»، «سمیه امانی» و «شهرام قوامی»؛ ترجمه و منتشر شده اند
وادِرینگ هایتس، در این داستان، نام عمارت خانوادگی «ارنشاو» است؛ و به معنی خانه ای است، که روی تپه و در معرض باد، ساخته شده است؛ داستان عشق آتشین و مشکلدار، میان «هیث کلیف»، و «کترین (کاترین) ارنشاو»، و اینکه همین عشق نافرجام، چگونه سرانجام این دو عاشق، و بسیاری از اطرافیانشان را، به نابودی میکشاند؛ «هیث کلیف»، کولیزاده ای است، که موفق به ازدواج با «کاترین» نمیشود، و پس از مرگ «کاترین» به انتقامجویی روی میآورد
تاریخ بهنگام رسانی 02/06/1399هجری خورشیدی؛ 12/05/1400هجری خورشیدی؛ ا. شربیانی
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(Book 902 from 1001 books) - Wuthering Heights, Emily Brontë
Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". She died the following year, aged 30.
It was written between October 1845 and June 1846, Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre.
After Emily's death, Charlotte edited the manuscript of Wuthering Heights and arranged for the edited version to be published as a posthumous second edition in 1850.
Thirty years earlier, the Earnshaws live at Wuthering Heights with their children, Hindley and Catherine, and a servant — Nelly herself.
Returning from a trip to Liverpool, Earnshaw brings a young orphan whom he names Heathcliff and treats as his favourite.
His own children he neglects, especially after his wife dies. Hindley beats Heathcliff, who gradually becomes close friends with Catherine.
Hindley departs for university, returning as the new master of Wuthering Heights on the death of his father three years later. He and his new wife Frances allow Heathcliff to stay, but only as a servant.
Heathcliff and Catherine spy on Edgar Linton and his sister Isabella, children who live nearby at Thrushcross Grange.
Catherine is attacked by their dog, and the Lintons take her in, sending Heathcliff home.
When the Lintons visit, Hindley and Edgar make fun of Heathcliff and a fight ensues. Heathcliff is locked in the attic and vows revenge. ...
بلندیهای بادگیر (عشق هرگز نمیمیرد) - امیلی برونته (نگاه ، جامی) ادبیات این کتاب نخستین بار در سال 1847میلادی منتشر شد؛ تاریخ خوانش این نسخه سال 1998میلادی
عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادخیز»؛ «بلندیهای بادخیز (وودرینگ هایتز)»؛ «بلندیهای بادگیر»؛ «بلندیهای بادگیر (وادرینگ هایتز)»؛ «بلندیهای بادگیر (عشق هرگز نمیمیرد)»؛ «بلندیهای بادگیر (وادرینگ هایتس)»؛ «بلندیهای بادگیر یا عشق هرگز نمیمیرد»؛ «به رزاییه کانی بهربا»؛ «عشق هرگز نمیمیرد»؛ «عشق هرگز نمیمیرد (بلندیهای بادگیر)»؛ «واترینگ هایتز»؛ «بلندیهای بادگیر (تا انتهای پر رنج عشق)»؛ «عشق هرگز نمیمیرد (بلندیهای بادخیز)»؛ تاریخ نخستین خوانش: سال 1977میلادی؛ بار دوم: سال 1998میلادی؛ و بار سوم: ماه می سال 2007میلادی
هر یک از عنوانهای بالا بارها به زیور طبع آراسته شده اند، البته که با کوشش مترجمین و دیگران؛ اثر «امیلی برونته»، شاعر و نویسنده ی «انگلیسی» است که بارها توسط مترجمهای نام آشنا خانمها و آقایان: «عبدالعظیم صبوری - در 299ص، در سال 1334هجری خورشیدی»، «ولی الله ابراهیمی در سال 1348هجری خورشیدی»، «داریوش شاهین»؛ «علی اصغر بهرام بیگی»، «پرویز پژواک»؛ «رباب امام»، «تهمینه مهربانی»، «حمید اکبری و زهرا احمدیان»، «فرزانه قلیزاده»، «نعیمه ظاهری»، «مریم صادقی»؛ «اکرم مظفری»، «فاطمه امینی»، «شادی ابطحی»، «فریده قراچه داغی (صمیمی)»؛ «مهدی سجودی مقدم»، «رضا رضایی»، و «نوشین ابراهیمی»، «مهدی غبرائی»، «هادی ریاضی»، «سمیه امانی» و «شهرام قوامی»؛ ترجمه و منتشر شده است
خواهران برونته («شارلوت» و «امیلی جین»، و «آن») هر سه از چهره های ممتاز ادبیات سده ی نوزدهم میلادی «انگلستان» هستند؛ «بلندیهای بادخیز» تنها رمان «امیلی جین برونته»، از پرخوانشگرترین آثار ادبیات «انگلستان» و شاید جهان هستند؛ در این کتاب، متن کوتاه شده، و برای نوجوانان است؛ با این همه در مسافرتها، بارها و بارها آن را خوانده ام؛ «وادِرینگ هایتس» در این داستان، نام عمارت خانوادگی «ارنشاو» است؛ و به معنی خانه ای هست، که روی تپه، و در معرض باد، ساخته شده است؛ داستان عشق آتشین و مشکلدار، میان «هیث کلیف» و «کترین (کاترین) ارنشاو»، و اینکه همین عشق نافرجام، چگونه سرانجام این دو عاشق، و بسیاری از اطرافیانشان را به نابودی میکشاند؛ «هیث کلیف» کولیزاده ای است که موفق به ازدواج با «کاترین» نمیشود، و پس از مرگ «کاترین» به انتقام روی میآورد
تاریخ بهنگام رسانی 06/09/1399هجری خورشیدی؛ 14/06/1400هجری خورشیدی؛ ا. شربیانی
Wuthering Heights, Emily Brontë's only novel, was published in 1847 under the pseudonym "Ellis Bell". She died the following year, aged 30.
It was written between October 1845 and June 1846, Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel Jane Eyre.
After Emily's death, Charlotte edited the manuscript of Wuthering Heights and arranged for the edited version to be published as a posthumous second edition in 1850.
Thirty years earlier, the Earnshaws live at Wuthering Heights with their children, Hindley and Catherine, and a servant — Nelly herself.
Returning from a trip to Liverpool, Earnshaw brings a young orphan whom he names Heathcliff and treats as his favourite.
His own children he neglects, especially after his wife dies. Hindley beats Heathcliff, who gradually becomes close friends with Catherine.
Hindley departs for university, returning as the new master of Wuthering Heights on the death of his father three years later. He and his new wife Frances allow Heathcliff to stay, but only as a servant.
Heathcliff and Catherine spy on Edgar Linton and his sister Isabella, children who live nearby at Thrushcross Grange.
Catherine is attacked by their dog, and the Lintons take her in, sending Heathcliff home.
When the Lintons visit, Hindley and Edgar make fun of Heathcliff and a fight ensues. Heathcliff is locked in the attic and vows revenge. ...
بلندیهای بادگیر (عشق هرگز نمیمیرد) - امیلی برونته (نگاه ، جامی) ادبیات این کتاب نخستین بار در سال 1847میلادی منتشر شد؛ تاریخ خوانش این نسخه سال 1998میلادی
عنوانهای چاپ شده در ایران: «تندباد حوادث یا ووترینگ هایتز»؛ «بلندیهای بادخیز»؛ «بلندیهای بادخیز (وودرینگ هایتز)»؛ «بلندیهای بادگیر»؛ «بلندیهای بادگیر (وادرینگ هایتز)»؛ «بلندیهای بادگیر (عشق هرگز نمیمیرد)»؛ «بلندیهای بادگیر (وادرینگ هایتس)»؛ «بلندیهای بادگیر یا عشق هرگز نمیمیرد»؛ «به رزاییه کانی بهربا»؛ «عشق هرگز نمیمیرد»؛ «عشق هرگز نمیمیرد (بلندیهای بادگیر)»؛ «واترینگ هایتز»؛ «بلندیهای بادگیر (تا انتهای پر رنج عشق)»؛ «عشق هرگز نمیمیرد (بلندیهای بادخیز)»؛ تاریخ نخستین خوانش: سال 1977میلادی؛ بار دوم: سال 1998میلادی؛ و بار سوم: ماه می سال 2007میلادی
هر یک از عنوانهای بالا بارها به زیور طبع آراسته شده اند، البته که با کوشش مترجمین و دیگران؛ اثر «امیلی برونته»، شاعر و نویسنده ی «انگلیسی» است که بارها توسط مترجمهای نام آشنا خانمها و آقایان: «عبدالعظیم صبوری - در 299ص، در سال 1334هجری خورشیدی»، «ولی الله ابراهیمی در سال 1348هجری خورشیدی»، «داریوش شاهین»؛ «علی اصغر بهرام بیگی»، «پرویز پژواک»؛ «رباب امام»، «تهمینه مهربانی»، «حمید اکبری و زهرا احمدیان»، «فرزانه قلیزاده»، «نعیمه ظاهری»، «مریم صادقی»؛ «اکرم مظفری»، «فاطمه امینی»، «شادی ابطحی»، «فریده قراچه داغی (صمیمی)»؛ «مهدی سجودی مقدم»، «رضا رضایی»، و «نوشین ابراهیمی»، «مهدی غبرائی»، «هادی ریاضی»، «سمیه امانی» و «شهرام قوامی»؛ ترجمه و منتشر شده است
خواهران برونته («شارلوت» و «امیلی جین»، و «آن») هر سه از چهره های ممتاز ادبیات سده ی نوزدهم میلادی «انگلستان» هستند؛ «بلندیهای بادخیز» تنها رمان «امیلی جین برونته»، از پرخوانشگرترین آثار ادبیات «انگلستان» و شاید جهان هستند؛ در این کتاب، متن کوتاه شده، و برای نوجوانان است؛ با این همه در مسافرتها، بارها و بارها آن را خوانده ام؛ «وادِرینگ هایتس» در این داستان، نام عمارت خانوادگی «ارنشاو» است؛ و به معنی خانه ای هست، که روی تپه، و در معرض باد، ساخته شده است؛ داستان عشق آتشین و مشکلدار، میان «هیث کلیف» و «کترین (کاترین) ارنشاو»، و اینکه همین عشق نافرجام، چگونه سرانجام این دو عاشق، و بسیاری از اطرافیانشان را به نابودی میکشاند؛ «هیث کلیف» کولیزاده ای است که موفق به ازدواج با «کاترین» نمیشود، و پس از مرگ «کاترین» به انتقام روی میآورد
تاریخ بهنگام رسانی 06/09/1399هجری خورشیدی؛ 14/06/1400هجری خورشیدی؛ ا. شربیانی
...
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Un libro de literatura clásica tal cual: historia de amor, largo y denso para leer.
Quiero destacar un punto en particular que me encantó de este libro y que, en mi opinión, lo hace distinto a los demás. Emily describe todo lo que el amor conlleva en sí a través de Mr. Heathcliff. Muchas veces se dice que el amor es lindo y todo eso, pero aquí, si bien él era un ser bastante malo, en todo sentido, lo hizo por amor. Y ahí viene la gran pregunta ¿Cómo se puede describir el amor? Pregunta difícil.
Mucha gente no entiende cuando alguien se obsesiona por amor, y ese amor no sólo se trata hacia una persona, sino que también se trata de lo que uno logra en la vida a partir de la meta que tiene cada uno, ya sea el amor de un hombre a una mujer, una mujer a un hombre, el amor a una mascota, a una casa, a sus tierras, al dinero, a lo que sea, pero amor al fin y al cabo.
En mi experiencia leyendo el libro, debo decir que hubo algunas parte que me costó entender y tuve que hacerlo más de una vez, pero lo volvía a hacer con placer, ya que no me aburría. Poco a poco la historia se vuelve más interesante... sobre todo en el final, en el cual se aclara todo y es mucho más fácil y liviano de entender, en mi opinión.
Quiero destacar un punto en particular que me encantó de este libro y que, en mi opinión, lo hace distinto a los demás. Emily describe todo lo que el amor conlleva en sí a través de Mr. Heathcliff. Muchas veces se dice que el amor es lindo y todo eso, pero aquí, si bien él era un ser bastante malo, en todo sentido, lo hizo por amor. Y ahí viene la gran pregunta ¿Cómo se puede describir el amor? Pregunta difícil.
Mucha gente no entiende cuando alguien se obsesiona por amor, y ese amor no sólo se trata hacia una persona, sino que también se trata de lo que uno logra en la vida a partir de la meta que tiene cada uno, ya sea el amor de un hombre a una mujer, una mujer a un hombre, el amor a una mascota, a una casa, a sus tierras, al dinero, a lo que sea, pero amor al fin y al cabo.
En mi experiencia leyendo el libro, debo decir que hubo algunas parte que me costó entender y tuve que hacerlo más de una vez, pero lo volvía a hacer con placer, ya que no me aburría. Poco a poco la historia se vuelve más interesante... sobre todo en el final, en el cual se aclara todo y es mucho más fácil y liviano de entender, en mi opinión.
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