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How does
Bronte use the first three chapters of Wuthering Heights to create a sense of foreboding in the novel?
Emily Bronte creates a sense of foreboding by using many different factors. In the first three chapters of Wuthering Heights, one of the ways she builds up a sense of anxiety is by constructing a feeling of unease between the characters. Furthermore, the different ways in which characters act reveal a lot about their situation. The feeling of unease is promoted by the morbid surroundings of the desolate Yorkshire Moors; similarly, the weather reflects the atmosphere of the Wuthering Heights household. The building itself is uninviting and dismal and the sense of foreboding is encouraged by the negative events and the talk of the past, of which the reader knows nothing and is therefore, mystified.
Lockwood describes Wuthering Heights as an ancient fortress, standing against both the weather and outsiders. On his first visit, the first gate has to be unchained before he can enter the court. The date carved above the porch confirms the antiquity of the structure. The narrow windows are deeply set in the wall, and the corners defended with large jutting stones. This implies a similarity to a castle, used for defence against outsiders. This dark description foreshadows the storminess of the events to take place in the plot.
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Bronte achieves a sense of foreboding by introducing her first character, Lockwood, as unwanted by the community. Mr Lockwood, the new tenant at Thrushcroft Grange, is an outsider from the city. His first impressions of Heathcliff and Wuthering Heights are unbiased, and optimistic. As a narrator, his unfamiliarity with the story occasionally leads him to misunderstand events.
" He is a dark-skinned gypsy, in aspect, in dress, and in manners a gentleman, that is, as much a gentleman as many a country squire." Lockwood, however, also mentions how unsociable he seems. Bronte does this to show how alien Lockwood is to the area and how quickly he is to try and fit in and accept the locals. As he describes himself as a 'misanthropist,' and an unsociable person, it proves that he is not a reliable source, as his perception is somewhat distorted. However, Heathcliff's attitude towards the newcomer is negative and he encourages Mr Lockwood not to trouble him again
"His attitude at the door appeared to demand my speedy entrance; or complete depart." This shows Heathcliff's passiveness towards other people, and how he has hardened against emotions towards all other relations.
Nevertheless, Lockwood decides to visit the next day, as he finds Heathcliff interesting in conversation. "I found him very intelligent on the topics we touched; and before I went home, I was encouraged so far as to volunteer another visit, tomorrow".
This reinforces the idea of Lockwood's unreliable view of events as he contradicts his own description of himself with his actions.
In the second chapter, Lockwood receives a cold reception and is told that he should not have come because of the weather. Heathcliff forbids Hareton from guiding Lockwood back to the Grange,
"'You'll go with him to hell', exclaimed his master." Most importantly, the chapter reveals that Heathcliff seems to have a real hatred towards his daughter-in-law and forbids her to leave Wuthering Heights for any reason. "How so? I cannot escort you. They wouldn't let me go to the end of the garden-wall." This information forces Lockwood to change his good opinion about his landlord. To reinforce his negative thoughts, Lockwood is shocked when Heathcliff and Hareton laugh instead of rescuing him when the dogs attack him. Bronte includes the dog attack to build up a feeling of tension. She also does it to show the reactions of the other characters. This causes forbidding as we see the characters in their true light and see how hard-hearted they actually are.
"The vehemence of my agitation brought on a copious bleeding at the nose, and still Heathcliff laughed." Lockwood decides that Heathcliff has a genuinely bad nature. The novel teases the reader with the possibility that Heathcliff is something other than what he seemsthat his cruelty is merely an expression of his frustrated love for Catherine, which lives on even after her death. Or that his sinister behavior serves to hide the heart of a romantic hero. Traditionally, romantic novel heroes appear dangerous and cold at first, only later to emerge as fiercely devoted and loving, which arguably, is what Heathcliff does.
Lockwood discovers a pile of diaries in Catherine's room, dating back nearly half a century. The entries in the diary seem particularly mysterious because the reader does not know the circumstances to which they refer. They, like the rest of the room, are dusty and look like they have not been disturbed for a long time. The idea of an untouched room forms a slightly puzzling feeling, which builds up suspense and the question, 'why', which leads to a sense of foreboding.
Lockwood wakes, disturbed from his fitful sleep, by a very violent dream. He dreams about Joseph and the small chapel nearby but the dream does not relate to any of the day's events, except a similarity to a book title he reads. Lockwood then lays his head back down.
'I listened doubtingly an instant; detected the disturber, then turned and dozed, and dreamt again; if possible, still more disagreeably than before.' From this point forward, we are unsure whether Lockwood dreams are in fact, real or not. However, he himself states it was in fact only a dream, This confuses the reader even more, as Heathcliff is adamant that the ghost was not a dream. Bronte does this to show how insecure Heathcliff is about Cathy, and how he can not control his own feelings. Bronte uses him to create a sense of foreboding, by trying to throw the reader off course. They are sure of Heathcliff's personality, yet find in fact, he is completely the opposite.
Lockwood has a face to face encounter with the ghost who, claims to be Catherine Linton, which causes the reader to think that it may be possible for Lockwood to have dreamt this, and known Catherine's name, as he'd read her diaries. However, Heathcliff's reaction tells a different story. He is convinced that it was not a dream and begins to shout and cry out of the window.
"He got onto the bed, and wrenched open the lattice, bursting, as he pulled at it, into an uncontrollable passion of tears. 'Come in! Come in!' he sobbed, do come. Oh do once more! Oh! My hearts darling! hear me this time Catherine, at last!'". The reader is almost made to feel pity for him in his anguish, although the cause of his pain is unknown. Bronte does this to show that events in the past have shaped and affected the people living near-by deeply.
It seems likely, however, that Bronte would have intended the ghost to seem real to her readers such a supernatural event would certainly be in keeping with the dark tone in the rest of the novel. The novel would have been identified as a gothic novel, when it first came out. These were designed to both horrify and fascinate readers with scenes of passion and cruelty. They usually include supernatural elements; and a dark, foreboding atmosphere. Sometimes they include a form of realism.
The strange, deliberately confusing opening chapters of Wuthering Heights serve as Brontes introduction to the world of the novel and to the relationships among the characters. Nothing is ever related simply from the view of a single person. The most important purpose of these early chapters is to engage the readers curiosity about the strange history of Wuthering Heights. The family relationships seem at this point in the novel, to intertwine with complexity. The characters, because Lockwood first encounters them late in their story, seem full of unknown passions and hidden resentments. The mysteries of the land cannot be separated from the mysteries of the characters, and the physical landscape of the novel is often used to reflect the mental and emotional landscapes of those who live there. Bronte creates a sense of foreboding by forming a negative link between every element of the story line. She does this with such ease and skill that the sense of foreboding lasts the entire novel.
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