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* a strong sense of arrogance
* high level of intelligence and perception
* cunning and able to adapt
* suffering from an unnamed crime
* a troubled past
* sophisticated and educated
* self-critical and introspective
* mysterious, magnetic and charismatic
* struggling with integrity
* power of seduction and sexual attraction
* social and sexual dominance
* emotional conflicts, bipolar tendencies, or moodiness
* a distaste for social institutions and norms
* being an exile, an outcast, or an outlaw
* "dark" attributes not normally associated with a hero
* disrespect of rank and privilege
* jaded, world-weary
* cynicism
* self-destructive behaviour

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Gender and Genre in Wuthering Heights: Gothic Plot and Domestic Fiction from Pykett, Lyn, "Emily Bronte", from Women Writers (1989) 'In spite of much power and cleverness, in spite of its truth to...

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Heathcliff vs Hindley, Chapter 17, page 129

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Heathcliff vs Hindley, Chapter 17, page 129

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when he flung himself on Earnshaw's weapon and wrenched it from his grasp.The charge exploded, and the knife, in springing back, closed into its owner's wrist. Heathcliff pulled it away by main force, slitting up the flesh as it passed on, and thrust it dripping into his pocket. He then took a stone, struck down the division between two windows, and sprang in. His adversary had fallen senseless  with excessive pain and the flow of blood that gushed from an artery or a large vein. The ruffian kicked and trampled on him, and dashed his head repeatedly  against the flags, holding me with one hand meantime to prevent me summoning Joseph. He exerted  preter-human self-denial in abstaining from finishing  him completely; but getting out of breath he finally desisted, and dragged the apparently inanimate body on to the settle. There he tore off the sleeve of Earnshaw's coat, and bound up the wound with brutal roughness, spitting and cursing during the operation as energetically as he had kicked before.

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Heathcliff's dominant personality quickly becomes evident - "You must exchange horses with me, I don't like mine". This incident demonstrates the extent to which Heathcliff has already been hardened and brutalised. The ragged new-comer to Wuthering Heights is an image of a human creature reduced to its bare animal essence, the naked will to live.

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A few words from her [Frances], envincing a dislike to Heathcliff, were enough to rouse in him all his old hatred of the boy.

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Pitting nature against civilization, Emily Brontë promotes the Romantic idea that the sublime-the awe-inspiring, almost frightening, beauty of nature-is superior to man-made culture. She makes this point by correlating many of the characters with one side or the other and then squaring them off against each other. For instance, Heathcliff, whose origins are unknown and who roams the moors, is definitely on the nature side, while his rival, the studious Edgar Linton, is...

(read full theme analysis)

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Pitting nature against civilization, Emily Brontë promotes the Romantic idea that the sublime-the awe-inspiring, almost frightening, beauty of nature-is superior to man-made culture. She makes this point by correlating many of the characters with one side or the other and then squaring them off against each other.

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Revision:Wuthering heights - chapter 7 volume 2 | The Student Room

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Cathy missed her cousin when she woke up that morning, but time made her forget him. Linton grew up to be a selfish and disagreeable boy, continually complaining about his health. On Cathy's sixteenth birthday she and Ellen went out on the moors, and strayed onto Heathcliff's land, where he found them.

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and other opinions

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In viewing through the lens of Marxist criticism, it seems to me that the novel is a prime example of the type of society that Marx warns against: Heathcliff, through the use of capitalist tactics, is able to gain power over others and their property. The dialectic contained in Wuthering Heights is between two opposing societal constructs -- the yeoman means of production and the new capitalist structure. The yeoman means of production, wherein landowners farmed their own land, is being superseded by the new capitalist structure, and as a result Heathcliff is forced to use capitalist techniques in order to gain power.

Heathcliff's denial of literacy to Hareton is a further demonstration of the inequality inherent in capitalist societies; this denial allows Heathcliff to retain power over Hareton. Throughout the book the subject of class inequality is discussed, both between the Lintons and Earnshaws and their servants. This dialectic highlights, according to a Marxist view, the need for revolution.

Both of these contrasts (nature versus society and class differentiation) can be seen in the character of Heathcliff. He is a character, initially, who is given preferential treatment due to his "otherness" only to be later discriminated against for the same reason. He is reminded constantly of his nature, and his class as a result of this nature. These factors force Heathcliff to not just assimilate with the changing culture but to go a step further, as he learns how to make this new society work in his favor. Heathcliff is, I believe, the revolutionary figure within the novel, although not in terms of global revolution. Rather, Heathcliff goes through a personal revolution; he adopts the culture of his enemies in order to use it against them. When Heathcliff inflicts his revenge on Edgar and Hindley he does so by using their methods and not his own.

Other than Heathcliff, I can't seem to find any other characters that embody any revolutionary traits. Anybody have any other people or situations that they see as revolutionary?

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In viewing through the lens of Marxist criticism, it seems to me that the novel is a prime example of the type of society that Marx warns against: Heathcliff, through the use of capitalist tactics, is able to gain power over others and their property.

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Buy the Wuthering Heights: A Level York Notes A Level revision study guide from the official York Notes site. Free P&P and instant online access to the digital version.

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As well as being physically vicious Hindley also attacks Heathcliff verbally, hurling curses and epithets at him. These attacks strengthened Heathcliff's resolve to make Hindley pay for mistreating him much like Heathcliff sought revenge on the Lintons when they degraded him for his looks and heritage.

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The feminist criticism is perhaps the perspective that best applies to Wuthering Heights. For one, any personal possessions of a woman goes straight to the husband once she marries. It's like the woman doesn't even exist because she has to live under the husband's name, who now owns her belongings. Thrushcross Grange would have been Isabella's had she not married Heathcliff but, since she did marry him, Heathcliff automatically becomes the owner. In addition, the wives of men in the novel are treated at times like they're below the "man of the house." One example of this inferior treatment in Wuthering Heights is, again, with Isabella. When Heathcliff beats Isabella, there isn't much she can do within the law to stop Heathcliff because, in order to make Heathcliff stop physically abusing her, she would have to prove (in a court probably partial towards men) that her life was in danger as a result of the abuse. The law back in Brontë's day really favored men over women and put women at a great disadvantage.

I think the topic that will garner even more attention from contemporary feminist critics will be "the role of film and other popular media in the construction of the feminine gender" (Brontë 451). I remember the very first article our class blogged on about how people are reading less. With more people now turning to other forms of entertainment like watching movies, the creators of movies add their opinions in them and help shape the public's ideas. Oftentimes, the public isn't even aware that the shaping process is occurring. Feminist critics, then, will carefully examine these newer and more popular forms of entertainment and make serious efforts to raise the public's awareness of underlying patriarchal ideology.

Reading the sentence, "French feminists tended to focus their attention on language, analyzing the ways in which meaning is produced," reminded me of another article that our class read-the George Orwell article. In that article, Orwell talks about the power of language. Since certain words conjure up certain thoughts in readers, the writer can somewhat control their thoughts by carefully picking and choosing the words he writes down. I definitely think language should be one of the main focuses for feminists or, for that matter, any form of criticism.

Noticing the paired, opposite terms such as masculine/feminine in the feminist criticism section at the top of page 452 reminds me of deconstruction. It makes me think about how the different categories of criticism aren't completely separate from each other. It even says later in the section, "Categories obscure similarities even as they help us make distinctions" (Brontë 458). We should try to keep in the back of our minds that categories, while useful in showing differences between things, sometimes overlap and share similarities.

I found Lyn Pykett's feminist criticism to be very persuasive. I liked her part at the beginning about older Catherine's different names and that "Catherine Heathcliff remains an unfulfilled possibility, a route not taken, although some would argue that this unoccupied term in fact names Catherine's true identity, and that she acquires this name-role beyond the narrative when her spirit joins with Heathcliff's to wander the moors eternally" (Brontë 469). That argument reminded me of a humorous comment one of our classmates, Jessica Guthrie, commented on in her blog when she said, "Would they go on ghostly dates? It is fun to think of the possibilities" (Guthrie, "Wuthering Heights Blog 2"). It is interesting to think about different scenarios, like whether or not older Catherine would return Heathcliff's forgiveness for his ruthless behavior.

I agree with Pykett's criticism for the most part, but her discussion of younger Catherine and her choice between two men starting at the bottom of page 475 to the top of 476 didn't really persuade me. Who's to say that, without the experience of her first marriage, that younger Catherine would have thrown "Jane Austen's prudence to the winds" and would have chosen to be with someone for love rather than for a high social status (Brontë 475)? The only reason younger Catherine is able to make the second choice-to be with Hareton-is because her first 'choice,' Linton, dies. It would have been very difficult for younger Catherine to leave Linton given the patriarchal law that was established then. Nevertheless, after Linton dies, younger Catherine does choose to go with her true nature and decides to marry Hareton, representing a move towards more freedom for herself.

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The feminist criticism is perhaps the perspective that best applies to Wuthering Heights. For one, any personal possessions of a woman goes straight to the husband once she marries. It's like the woman doesn't even exist because she has to live under the husband's name, who now owns her belongings.

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French Feminists Language-Focused What we learn in language ia a binary logic which oppses terms like:
Active/passive, mother/son, head/heart. Phallocentric Structure "it privileges the phallus and, more generally, masculinity by associating them with things and values more appreciated bt the (masculine-dominated) culture." "Semiotic" not "Symbolic" French Feminist, Julia Kristeva. British Feminists Feminist Criticism
&
Wuthering Heights
Essay by: Lynn Pykett Hobbies Kristeva also warned... "A Feminist language that refuses to participate in 'masculine' discourse, that places a future entirely in a feminine, smiutic discourse, risks being politically marginalized by men." Interests Personal (cc) photo by Jakob Montrasio Presentation by: Dina MArvulli Feminists American Feminists "Write your self. your body must be heard." "as women's jouissance is more multiple than men's unitary phallic pleasure, so 'feminine' language is more diffusive than its 'masculine counterpart." Until quite recently, Femenists were categorized by origin rather than by topic. French
American
British Especially during the 1970s and 1980s, feminist perspectives were somewhat different . "Rather than opposing and ranking elements of reality, rather than symbolizing one thing but not another in terms of a third, feminine language is rhythmic and inifying. [And] if from the male perspective it seems fluid to the point of being chaotic, that is a fault of the male perspective. Helene Cixous Luce Irigaray Both were criticized from other French Feminists due to retaining the binary categories which many were trying to escape Analyzed literary texts instead of philosophizing about the language. "Examined the portrayals of women characters, exposing the patriarchal ideology implicit in such works and showing how clearly this tradition of systematic masculine dominance is inscribed in our literary traditions." Gynocriticism To restudy well-known women authors Rediscover women's history and culture Discover neglected or forgotten women writers More Political rather than more historical Saw the American opposition of male stereotypes often led to counterstereotypes of women themselves and their feminine virtue Now, the lines of what type of feminist a person is is somewhat hazy. All women are female, BUT they are "something else" as well. "Changeing the Names" Pykett uses all three of the feminist categories explored. emphasis on womens's writing (French) View of Bronte as a woman novelist writing against societal and novelistic conventions (American) Lastly, the role of class in the construction of feminism (British)

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Dina MArvulli Feminists American Feminists

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British Feminists Feminist Criticism & Wuthering Heights Essay

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Feminist Criticisms and Wuthering Heights

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French Feminists Language-Focused What we learn in language ia a binary logic which oppses terms like:Active/passive, mother/son, head/heart. Phallocentric Structure "it privileges the phallus and, more generally, masculinity by associating them with things and values more appreciated bt the (masculine-dominated) culture." "Semiotic" not "Symbolic" French Feminist, Julia Kristeva.

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It was interesting to find that the feminist perspectives from around the world varied during the 1970's and 1980's. However, it is not alarming to find that each view differs depending on their own individual circumstances. "while all women are female, they are something else as well (such as African American, lesbian, Muslim-Pakistan). This "something else" is precisely what makes them, their problems and their goals different from those of other woman." (pg. 456, Murfin) I also found what Murfin mentioned about Gloria Anzaldua to speak volumes, not only about woman, but people as a whole even today. Anzaldua says in her book Borderlands, "I grew up between two cultures, the Mexican (with a heavy Indian influence) and he Anglo... Living on the borders and in margins, keeping intact one's shifting multiple identity and integrity is like trying to swim in a new element an "alien" element." (pg. 457, Murfin) It's tough when you're an outsider, and the first of your kind, you have nobody to follow and you begin to teeter between cultures up until you find comfort in who you are.

Consider the individual feminist views relevant in today pertaining with Arab-American woman in the United States, I can tell you straightforward that they face more ridicule than the men. Many devout Muslim woman wear their head scarves to show their dedication and obedience to their religion, while Muslim men who do not wear turbans, or Muslim woman who do not cover their heads - walk in and out of shopping malls and restaurants like everybody else and nobody thinks twice. Murfin mentions something along the lines of this when he says, "Asian women living Britain are expected by their families and communities to preserve cultural traditions; thus, the expression for personal identity through clothes involves a much more serious infraction of cultural rules than it does for a Western woman. (pg. 456, Murfin) This further justifies that woman are judged differently on an individual basis and are not all similarly viewed as a whole.

When pertaining to the Wuthering Heights, I believe Catherine Earnshaw definitely transforms when she comes back to the Heights after her stay with the Linton's at the Thrushcross Grange. Having some time apart from Heathcliff, I believe she was able to grow a bit as an individual. She expressed early on in the story that her and Heathcliff were very similar, I believe Heathcliff initiated a psychological hold on Catherine. She says in Chapter 9, "I love him; and that, not because he's handsome, Nelly, but because he's more myself than I am." (pg. 86, Bronte)

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It was interesting to find that the feminist perspectives from around the world varied during the 1970's and 1980's. However, it is not alarming to find that each view differs depending on their own individual circumstances. "while all women are female, they are something else as well (such as African American, lesbian, Muslim-Pakistan).

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Who is the Antagonist in Emily Brontëâ€™s Wuthering Heights? We have the answers here, plus lots more.

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Summary During the following summer, Frances gives birth to Hareton, but Frances dies a week later because she had been suffering from consumption. Nelly is exp

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Everything you ever wanted to know about Hindley Earnshaw in Wuthering Heights, written by masters of this stuff just for you.

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Catherine’s brother, and Mr. Earnshaw’s son. Hindley resents it when Heathcliff is brought to live at Wuthering Heights. After his father dies and he inherits the estate, Hindley begins to abuse the young Heathcliff, terminating his education and forcing him to work in the fields. When Hindley’s wife Frances dies shortly after giving birth to their son Hareton, he lapses into alcoholism and dissipation.

Catherine's elder brother, Hindley despises Heathcliff immediately and bullies him throughout their childhood eventually his father sends him away to college. After Mr Earnshaw dies Hindley returns with his wife, Frances. He is far more mature now but his hatred from Heathcliff remains the same. After Frances' death Hindley is caught in a downward spiral of destructive behaviour, and ruins the Earnshaw family by drinking and gambling to excess. Heathcliff beats up Hindley at one point where he attempts to kill him with a pistol.

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The Character of Heathcliff

Heathcliff is introduced in Nelly's narration as a seven year old Liverpool foundling (probably an Irish famine immigrant) brought back to Wuthering Heights by Mr. Earnshaw. His story, in the words of Nelly, is "a cuckoo's story", Heathcliff is the usurper. His presence in Wuthering Heights overthrows the prevailing habits of the Earnshaw family, members of the family soon become involved in turmoil and fighting and family relationships become spiteful and hateful. Even on his first night, he is the reason Mr. Earnshaw breaks the toys he had bought for his children. Nelly recorded "From the very beginning he bred bad feelings in the house". Heathcliff usurps the affections of Mr. Earnshaw to the exclusion of young Hindley-: "The young master had learnt to regard his father as an oppressor rather than a friend". Such is the extent of Heathcliff's usurpation, that Hindley is sent off to boarding school. As an adult, Heathcliff repeats the process, as he usurps the affections of Hareton and takes pride in the fact that he would be defended by the son in a fight with the father. Ultimately, Heathcliff parallels the cuckoo in taking over ownership of the Heights, thereby dispossessing the rightful heir, Hareton. Heathcliff destroys the natural familial emotional bonds which previously existed in the Earnshaw household. His presence results in a polarisation within the family, at first Mr. Earnshaw and the Catherine become his allies, whereas Hindley becomes his enemy.

The role of the usurper leads to Heathcliff's suffering at the hands of Hindley and it is the treatment neated out by Hindley to Heathcliff after the death of Mr. Earnshaw, that arouses in Heathcliff a deep and abiding hatred and an all consuming passion for revenge. Heathcliff never forgot an injury inflicted on him during childhood and on his return to Wuthering Heights, after a three year absence, the impulse to revenge himself on all those he regards as having wronged him becomes his overpowering passion. He ruins Hindley by encouraging his excessive drinking and gambling and with him aside he then turns his attention to Hareton-: "We'll see if one tree won't grow as crooked as another with the same wind to twist it". His revenge is also directed towards Edgar Linton, whom he sees as having stolen Catherine from him. He devises a series of schemes to wrest the ownership of the Grange from the Linton family and secure it for himself. He marries Isabella to "gain a foothold in the Grange" and to reek revenge on Edgar-: "Edgar's proxy in suffering". He forces the marriage between his son Linton and Cathy to secure the ownership of the Grange, his revenge on Edgar is complete, he having lost his sister, wife daughter, estate and in the final analysis, the closest companionship of Catherine in death.

Heathcliff's role as an avenger is helped by his intelligence and understanding, not just of his own motivations, but of the motivations of others. He recognises the source of Isabella's infatuation that-: "she abandoned this under a delusion" - "picturing in me a hero of romance". He also capitalises on Linton's poor health by inviting the pity of Cathy so that her affection and sympathy would facilitate a marriage that would leave he, Heathcliff, as master of the Grange.

As Heathcliff seeks his revenge, he becomes fiendish and is constantly associated with diabolical feelings, images and actions. The use of the imagery reinforces the inhuman aspect of Heathcliff. He regrets saving the infant Hareton. Nelly recalled that his face bore the greatest pain at he being the instrument that thwarted his own revenge. He takes perverse pleasure in the fact that Hareton was born with a sensitive nature which Heathcliff has corrupted and degraded. Heathcliff's pleasure at this corruption is increased by the fact that-: "Hareton is damnably fond of me". Heathcliff's cruelty is also evident when he hangs Isabella's dog despite her protestations. His attitude is devoid of fatherly feeling. He sees him only as a pawn in his revenge and his main consideration lies in calculating whether Linton lives long enough to have married Catherine so having acquired Thrushcross Grange-: "We calculate it will scarcely last 'till it's eighteen." Once the marriage has taken place, Linton's life is seen as worthless by Heathcliff-: "His life is not worth a farthing, and I won't spend a farthing on him" His cruel treatment of Isabella is, for him, a source of enjoyment. He tells Nelly-: "The more the worms writhe, the more I yearn to crush the entrails" Isabella recognises the sadistic treatment by Heathcliff and asks- "Is Mr. Heathcliff a man - is he the devil?"

There is, however, another side of the novels leading character. At no point in the novel can we doubt Heathcliff's eternal faithfulness to Catherine. His love survives her rejection of him-: "It would degrade me to marry Mr. Heathcliff" and despite her marriage to Edgar, Heathcliff's love for her continues undaunted. Heathcliff suffers much emotional rejection, but at no point does he waiver in his loyalty to her-: "I seek no revenge on you...the tyrant grinds down his slaves and they don't turn against him, they crush those beneath them" His genuine concern for Catherine prevents him from exacting direct revenge from Edgar. He says to Catherine-: "I would of died by witches before I would have touched a single hair of his head." When hearing of Catherine's illness, he exclaims-: "Existence after loosing her would be hell" In this statement, we can see the extent of Heathcliff's dedication and loyalty to Catherine and the sense of desolation her death would bring to him.

At times in the novel, Heathcliff is portrayed as a tormented spirit. After the death of Catherine, Heathcliff's lust for love is gone. His existence is then focused totally on exacting revenge. As his death approaches, he confesses to Nelly the extent of Catherine's hold over him, though she's now been dead 18 years-: "I cannot look down into the floor, her features are shaped in the flags...in every cloud, in every tree." The degree in which Heathcliff is tormented by Catherine is reflected when he said-: "Why did you betray your own heart, Cathy?...you love me, what right had you to leave me?" The sense of despair following news of Catherine's death is a good example of Heathcliff's tormented spirit-: "I cannot live without my life, I cannot live without my soul" He, said Nelly, howled not like a man, but like a savage beast getting goaded to death with knives and spears. Life for Heathcliff after Catherine's death is an unnatural existence. He feels he belongs with her both in body and in spirit and has already arranged with the Sexton to be buried beside her. Life for him is "like bending back a stiff spring". The young Cathy recognises that Heathcliff has rejected all society although she doesn't realise that his attachment remains to her late mother-: "Mr. Heathcliff, you have nobody to love you...your cruelty arises from your greater misery."

From the beginning of the novel and most likely from the beginning of his life, he has suffered pain and rejection. When he is brought to Wuthering Heights by Mr. Earnshaw, he is viewed as a thing rather than a child. Mrs. Earnshaw was ready to fling it out of doors, while Nelly put it on the landing of the stairs hoping that it would be gone the next day. Without having done anything to deserve rejection, Heathcliff is made to feel like an outsider, following the death of Mr. Earnshaw, suffers cruel mistreatment at the hands of Hindley. In these formative years, he is deprived of love, sociability and education, according to Nelly, Hindley's treatment of Heathcliff was "enough to make a fiend of a saint". He is separated from the family, reduced to the status of a servant, forced to become a farm hand, undergoes regular beatings and is forcibly separated from Catherine. Personality that Heathcliff develops in his adult life has been formed in response to the deprivation of his childhood. Heathcliff received constant reminder of his lesser status e.g. on his first visit to the Grange, Catherine is taken into the Linton household, whereas Heathcliff is rejected, made fun of, and alienated. Later, when Catherine returns to Wuthering Heights, her changed appearance further alienates Heathcliff, a point emphasised during the visits of the Linton children, Heathcliff was not considered fit to join the party. The final sense of alienation and the most damning occurs with Catherine's marriage to Edgar, this he considers a betrayal of his love for her, in favour of the social status and civilised existence of the Grange. Heathcliff is however proud and determined and does not cower when confronted by those who consider themselves to be superiors, his determination was evident when taking advantage of Mr. Earnshaw's favouritism and exchanging horses with young Hindley, though his situation and position is somewhat worsened after the death of Mr. Earnshaw, Heathcliff's pride nevertheless remains intact. When Catherine returned to the Heights after her five week stay at the Grange, she is much changed in appearance and makes fun of the ragged Heathcliff, when ordered to shake hands with Catherine by Hindley, Heathcliff refuses, saying-: "I shall not stand to be laughed at, I shall not hear it". Similarly, when insulted by Edgar during one of his visits to the Heights, Heathcliff empties a toureen of applesauce over him. Finally, when the realisation dawns on him that Catherine has chosen status, wealth and position in preference to him, he disappears for three years and returns in the guise of a gentleman.

Part of Heathcliff's survival mechanism during the period that he is being terrorised by Hindley, is the thought and prospect of revenge, he is determined to have is own back and confesses to Nelly-: "I don't care how long I wait, if I can only do it at last, I hope he will not die before I do".

As Heathcliff approaches death and a reunion of Catherine, his resolve for revenge weakens until he no longer has an interest in that former preoccupation-: "I have lost the faculty of enjoying their destruction". This dousing of the flames of Heathcliff's revenge is a catalyst not just in the novel but in the histories of the Earnshaw and Linton families. Hareton and Cathy are spared, the sense of evil visited upon them by Heathcliff is removed and there occurs a spiritual renaissance within Wuthering Heights.

Heathcliff is a many faced character, in his early years he is characterised somewhat by his fiery temper, his sulleness, his proud nature, his fierce attachment to Catherine, his spitefulness and his capacity for hatred. The adult Heathcliff, who returns to Wuthering Heights after a three year absence, is a super-human villain driven by revenge, distorted by the sense of the wrongs done to him and made emotionally unstable by Catherine's marriage. This later Heathcliff is characterised by callousness by an incapacity to love and eventually by an all consuming passion for revenge against those who have wronged him and for unification with his beloved Catherine.

Stages in Heathcliff's Development:

A.) Arrival in Wuthering Heights and favoured child of Mr. Earnshaw, beginnings of relationship with Catherine.

B.) Mistreatment under Hindley, loss of social position, rejection by Catherine.

C.) Three year absence from the Heights.

D.) Returned in the guise of a gentleman, re-establishment of relationship with Catherine, execution of plan of revenge.

E.) Weakening of resolve, approach of death, admission of failure, burial beside Catherine.

: Background : Cathy Linton : Catherine Earnshaw : Edgar Linton : Hareton : Narrative Techniques : Heathcliff The Revenger : Themes of the Novel : Weather Quotations

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The Character of Heathcliff Heathcliff is introduced in Nelly's narration as a seven year old Liverpool foundling (probably an Irish famine immigrant) brought back to Wuthering Heights by Mr. Earnshaw. His story, in the words of Nelly, is "a cuckoo's story", Heathcliff is the usurper.

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cheesey music

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Epic Confrontation Between Hindley & Heathcliff

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The Epic Confrontation Between Hindley & Heathcliff. Music By: John Williams.