呼啸山庄一部女性哥特小说

　　〔Abstract〕WutheringHeightsistheonlynovelbyEmilyB，anEnglishwomanwriterinthe19thcentury。Alsoitisapieceofexquisiteworksoftheworld’sliterature，whichdisplaysaseaofGothiccolors。ThispapertriestomakearesearchontheproductionofWutheringHeights，basingonGothictraditionofEuropeanandAmericanliterature。EmilyBmakesuseofandbreaksthroughGothictraditioninthefacetsoftheportrayalofthecharactersandtheuseofimage。Drawingonherextraordinaryimagination，EmilysucceedsinmergingrealitywithGothictechniqueslikesymbolism，terror，andmystery，inputsthepassionatefeelingsandenergyintotheoldmodes，andperfectlyunitestheGothicformwithpassionatecontents。ThethesisaimsatdiggingoutsomehiddenimplicationsinthenovelfromanewanddifferentperspectivetoprovidethereaderwithmoreenlightenmentandspeculationandtriesatthesametimetohelpthereadersrereadthisnovelfromtheangleofFemaleGothicbydisplayingthesurrealisticdescriptionofthedevilishcharactersandthenightmares。
　　〔KeyWords〕WutheringHFemaleGnightmares
　　【摘要】《呼啸山庄》是19世纪英国女作家艾米莉勃朗特的惟一的一部小说，也是世界文学园地中的一朵奇葩，其中展现了大量的哥特色彩。本文立足于欧美文学中的哥特传统研究《呼啸山庄》的创作，作家艾米莉在人物形象和意象等方面都借鉴了哥特传统并有所突破；她凭借超乎寻常的想象力，将现实与象征、恐怖、神秘等哥特手法完美地结合在一起，给陈旧的形式注入了激烈情感和活力，达到哥特形式与激情内容的完美统一。笔者试图从一个新的角度女性哥特来挖掘出《呼啸山庄》中尚未被挖掘出的一些新的意蕴和内涵。同时也希望通过展示魔鬼式人物和梦魇的超现实主义描写，使我们能够从女性哥特的角度解读这部小说。
　　【关键词】《呼啸山庄》；女性哥特小说；魔鬼式人物；梦魇
　　1。Introduction
　　Inconclusion，EmilyBusedthestarkYorkshiresetting，nottocreatesuspenseandhorror，asinthetypicalGothicnovel，butasanaturalpartofherstory。〔5〕Ononehand，shecarriesontheGothictraditioninhercreationofthenovel。Ontheotherhand，shehasnotjustemployedthemodebutpromotessomeimprovementsinthisoldtradition。SheusedtheskillofFemaleGothicinherwritingofthenovel。Inthefollowing，theauthoristryingtomakeastudyonWutheringHeightsfromtheaspectsofthedevilishcharactersandtheterrifyingnightmares。
　　2。FromGothicnoveltoFemaleGothicnovel
　　InstudyingWutheringHeightsfromtheaspectofaFemaleGothicnovel，noonecanignorethedefinitionofthistermGothic。Todoso，however，oneislikelytofallintothetrapofambiguity，forthereisnodefiniteandcomprehensivewaytoexpoundit。Astimegoesby，theconnotationofthistermgraduallyexpandsfromitsoriginalmeaningintobroadersense。
　　ThewordGothicoriginallyreferredtotheGoths，anearlyGermanictribe，thencametosignify‘Germanic’，then‘medieval’。〔6〕AndthemembersofthistribewinfamebecauseoftheirvalianceandtruculenceduringthebattlewithRomans。Althoughafteraround7A。D。theGothsvanishesfromhistory，theyhadindirectlyaddednewmeaningtothewordGothicthatisthenusedtodenoteastyleofarchitecturethatoriginatesinFranceandflourishesduringtheMedievalPeriod。ThemajorcharacteristicsofGothicbuildingsareembodiedbytheuseofthehighpointedarchandvault，flyingbuttressesandintricaterecesses，whichspreadthroughWesternEuropebetweenthetwelfthandsixteenthcenturies。〔7〕Asaresult，theGothicarchitectureisusuallydeemedtobemysteriousandfrightening，representingtheinhumaneandtheDarkAges。TodayGothiciserroneouslyconsideredcrudeandbarbaric。
　　Withthepassingoftime，Gothicisendowedwithanewconnotation。Aroundtheearlyeighteenthcentury，Gothicdevelopsintoagenreinliteraryrealm。Inparticular，thetermGothichasalsobeenextendedtoatypeoffictionwhichlackstheexoticsettingoftheearlierromances，butdevelopsabroodingatmosphereofgloomandterror，representseventsthatareuncannyormacabreormelodramaticallyviolent，andoftendealswithaberrantpsychologicalstates。〔8〕TheattempttodefineGothicwritingsusuallyfollowsthemethodnamedbyEugeniaDeLamotteinMonthlypublishedin1801。Insuchkindofworks，otherssettheminaCatholiccountry，especiallyItalyorSpain。Thelocalewasoftenagloomycastlefurnishedwithdungeons，subterraneanpassages，thetypicalstoryfocusedonthesufferingsimposedonaninnocentghosts，mysteriousdisappearances，andothersensationalandsupernaturaloccurrences。〔9〕ThoughtheplotsandthemesofGothicwritingsaredifferentspecifically，theyfocusonthedepictionofaseriesofweirdandsimulativeeventssuchasmurder，revenge，violence，rapeandincest，thusendowingthewholeworkwithanatmosphereofsuspense，mysteryandsenseoffear。Withitsartificialoverornamentation，itsunbridledimagination，itsnotoriousfameofseducingdegenerationandcorruption，Gothicwritingsareseverelycriticizedandrejectedbymainstreamliterarygenres。Inthehistoryofwesternliterature，thereareseasofschoolsoffictionhavingmadestrongimpacts。Flourishedduringtheendoftheeighteenthandearlynineteenthcentury，theEnglishGothicnovelisoneoftheschoolsthatexertsatremendousinfluenceandownsconsiderableuniqueness。〔10〕
　　In1764，theEnglishwriterHoraceWalpoleinauguratestheGothicnovelswithhisTheCastleofOtranto：AGothicStoryinhisGothiccastleunderthesettingofMiddleAges。Thenovelisfloodedwithevil，violence，andmurderincoldblood。AnditbecomestheforerunneroftheEnglishandwesternGothicnovels。SetinmedievalItaly，TheCastleofOtrantotellsastoryaboutusurpation，conspiracyandmorality。Thestoryendswiththegoodpromotedwhiletheevilpunished。ThenovelpavesthewayforthedevelopingoftheGothicnovels：therearesecretpassagesandmysteriousabbey，thevillainoususurperandthevirginalheroine，theuprighthero，thedisplayofsadisticandmasochisticemotionsandtheunbridledsexualityandsensuality。Itexhibitsitsrebelliousandexcessivequalities。Theportrayalofunanimatedcharactersandbrashplots，theeerieandhorriblesettingsandscenery，thedepictionoftheinstitutionofcavalier，however，broughtitlongtermcriticism。WiththepublicationofTheCastleofOtrantotherealhistoryofthewordGothicbeginsfromeighteenthcentury。Anditmainlyreferstothefollowingthreemeanings：barbarous，medieval，andsupernatural。
　　Fromthenon，alargenumberofGothicnovelscomeoutwiththethemestickingtotheexplorationofhumannatureandpassionsinformsofindulgenceandirrationalexcessaround1790s。ExamplesofGothicnovelsareWilliamBeckford’sVathek（1786），AnnRadcliffe’sTheMysteriesofUdolpho（1794），andMatthewGregoryLewis’TheMonk（1796）。ThelattertwoworksareconsideredtobethemostoutstandingandinfluentialworksamongthelargenumberoftheGothicnovelsduringGothicdecade。AnnRadcliffeisoneofthemostfamousfemalenovelistswhoseworkstouchuponthetypicalGothictraditions。Byinheritinganddevelopingmajorfeaturesofherpredecessors，sheattachesmuchimportancetofemalefiguresinGothicnovels，endowingherworkswithnewcharacteristicsandpreservingtheirdistinctingredients。Therefore，sheishighlypraisedfortheinitiatoryemphasisonwomenandtheirsituationswithinGothiccontextbesideshergreatcontributiontoGothictraditions。Therearetypicalgothicfeatures，suchasruinedcastlesandabbeys，isolatedpassagewaysanddarkforestsinhernovel，aswellassomeuniquefeatures，whichcannotbefoundinmaleGothicnovels。Tosomeextent，shestartsthetraditionofthesocalledFemaleGothic。
　　FemaleGothic，thevariantofmodernGothic，firstcomesoutfromEllenMoers’LiteraryWomen。ShedefinesFemaleGothicastheworkthatwomenwritershavedoneintheliterarymode。〔13〕Gettingflourishedinthelateeighteenthandearlynineteenthcentury，FemaleGothicnovelsusuallyfocusonafemaleprotagonistwhoischasedandtormentedbyvillainousgothicfigureswithunfamiliarsettingsandhorriblelandscapeasthebackground。NoGothicnoveliswithoutitssufferingheroine，whoisboth‘sexualized’asanobjectofdesireand‘victimized’byapowerfulaggressorwhoisalsoapotentialrapist。ThefirsttaskoffeministcriticismwastoarticulatetheproblemoftheabuseofthefemaleinGothicfictionandtoexplorethewaysinwhichfemalenovelistssubvertedorreinscribedtheculturalnormsoffemalesexualizationandvictimization。〔14〕TheFemaleGothicaimstosocializeandeducateitsfemalereadersbycriticizingpatriarchaldominionandservesasanexpressionoffemaleindependence。ItnotonlymarkstheintroductionofgenderedperspectiveintoGothicstudies，butalsoopensupanewspaceforfeministliterarystudies。〔15〕Inaword，FemaleGothicisaformofliterature，whichexpressestheinnersecretresistance，fantasy，andterrorofthefemale。Womenareundertheoppressionofmenforalongtime，anditishightimethatwomenwritersshouldsubvertmaledominatedliterarydiscourseandestablishtheirownwritingtradition。
　　ApplyingGothicgenreasaplatform，theFemaleGothicwritersareinclinedtoexpresstheirownunderstandingonwomen’sconditionsandcommunicatewithreaders，especiallythefemale。TheprominentrepresentativesofFemaleGothicnovelsincludeJaneAustin’sNorthangerAbbey（1818），MaryShelley’sFrankenstein（1817），andCharlotteB’sJaneEyre。EmilyB’semployingofFemaleGothicshouldhaveanairofbeinginfectedbyHoffmanntooisnotsurprisinginacontemporaryofPoe’s；EmilyislikelytohavereadHoffmannwhenstudyingGermanattheBrussels’sboardingschoolandcertainlyreadtheghastlysupernaturalstoriesbyJamesHoggandothersinthemagazinesathome。〔16〕EmilygrowsupbyreadingMaryShelley，Hoffmann，andJamesHogg’sGothicnovels。〔17〕InEmily’sWutheringHeightstherecanbefoundhereandtheretheinfluenceoftheGothictradition。Inthefollowing，thisthesiswillanalyzeWutheringHeightsfromFemaleGothicperspectives，basicallyfocusingonitsdevilishcharactersandterrifyingnightmares。
　　3。AnalysisontheembodimentofFemaleGothicinWutheringHeights
　　3。1DevilishcharactersofFemaleGothic
　　3。1。1Heathcliff：apoorinhumanmonster
　　3。1。1。1TenantMr。Lockwood’simpressiononHeathcliff
　　InGothicnovels，theshapingofthecharactersisacommonlyusedvehicleforgivingexpressiontothegothicingredient。ThisisparticularlytrueofEmily’sWutheringHeights。Whenweopenthisbook，wecanseevariousterrifyingcharacters。ThefirstcharacteristheheroHeathcliff。Heseemstobeaninhumanmonster。Beingasonofthestorm，hisbehaviorisfloodedwithGothiccolor：cruel，imperious，andhestoopstoanythingtogetwhathewants。What’smore，thelovebetweenCatherineandhimgoesbeyondthecommonlimitandisquiteabnormalcomparedwithloveinotherworksofherage。TheentireactionofthestorytakesplacewithinthetwohousesWutheringHeightsandThrushcrossGrangeandonthemoorsliebetween。Theprincipalcharacter，Heathcliff，aroundwhomalltheactionrevolves，emergesasstarklyasWutheringHeights。Hemaybethoughtofasthepersonificationofthehouse。ThereisananalogybetweenhisappearanceandhischaracterandthatoftheHeightsitself。
　　WhenMr。Lockwood，thetenantofThrushcrossGrange，payshisvisittoWutheringHeights，curiousaboutthebroodingqualityandcrumbing，menacingappearanceoftheHeightsandtheinscriptionoverthedoorthedate‘1500’andthename‘HaretonEarnshaw’，Mr。Lockwoodwouldliketoaskhislandlordaboutthis，butHeathcliffprovestobeunsociable，inhospitable，andbrusque。
　　The‘walkin’wasutteredwithclosedteeth，andexpressedthesentiment，‘Gotothedeuce’：andIthinkthatcircumstancedeterminedmetoaccepttheinvitation：Ifeltinterestedinamanwhoseemedmoreexaggeratedlyreservedthanmyself。〔18〕
　　ThisisthefirstappearancethatEmilydisplayedtous。AndthefirstimpressionoftheheroHeathcliffaddsthecolorofmysteryandimpliestothereadersthatthemanisboundtohavealongstory。Bythebriefportrayalofthehero，shecreatessuspenseforthewholestory，whichembodiestheGothictradition。
　　DuringMr。Lockwood’sstayingattheHeights，hefoundadiary。TheentryregardingthedegradinglifeHeathcliffwasforcedtoleadbyHindleythrowssomelightonthecharacterofHeathcliffasMr。Lockwoodnowfindshim。ForthefirsttimewesympathizewithHeathcliffinhisanguish，althoughwearestillignorantastoitscause。Heathcliffhasbeenrevealedasamancapableofgreatemotion，aswellascruelty。ThescenestillisintheHeights。Declaringthattheroomishaunted，Mr。Lockwooddecidestospendtherestofthenightelsewhere。Asheisabouttoleavetheroom，theoddandhorriblethinghappens：
　　Iobeyed，whenignorantwherethenarrowlobbiesled，Istoodstill，andwaswitness，involuntarily，toapieceofsuperstitiononthepartofmylandlordwhichbelied，oddly，hisapparentsense。Hegotontothebedandwrenchedopenthelattice，bursting，ashepulledatit，intoanuncontrollablepassionoftears。‘Comein！Comein！’hesobbed。‘Cathy，docome。Oh，dooncemore！Oh！Myheart’sdarling！Hearmethistime，Catherine，atlast！’Thespectershowedaspecter’sordinarycaprice：butthesnowandwindwhirledwildingthrough，evenreachingmystation，andblowingoutthelight。〔19〕HeathcliffisalarmedwhenhehearsthatCatherinehasappearedtoMr。Lobviously，hebelievesthatherspirithauntsWutheringHeightsandistryingtocometohimfrombeyondthegrave。ThiselementarousestheinterestandcuriosityofthereaderandembodiesGothiccolorastepforward。
　　WiththebirthofhissonHaretonandthedeathofhiswifeFrancesHindley’sfinaldisintegrationcommerces。Thisisconsistentwiththemoralweaknesshehasshownpreviously。HeconcentrateshisvenomonHeathcliff，whomhebrutalizesandinwhomhetriestostampoutthefeelingofworthinessthatoldMr。Earnshawhadengendered。Heathcliff，inturn，delightsinseeinghisenemydestroyhimself。ItisconsistentwithHeathcliff’snaturethatheencourageshisenemiestodestroythemselvesbytheirwoninnerflaws。Andreadersanticipateconflictsandtroubleinthefuture。Fromthispointofview，hebehavesquitecruelandrevengeful。TofulfillhisrevengeonHindley，heturnslittleHaretonintoabrutewithnoloveorrespectforhisfather，andhehasendedhiseducationjustasHindleydidtohim。WhenHeathcliffreappearsafterCatherine’smarriage，thinkingshemightshowhimwherehisevilwaysareleadinghim，NellypaysavisittotheHeights。SeeinglittleHaretonoutsidethegates，sheidentifiesherselfandsaysshehascalledtoseehisfather，Hindley。Haretondoesnotrecognizeherashisformernurseandgreetsherwithahailofstonesandcurses。NellyaskshimwhotaughthimsuchthingsandheanswersDevildaddy。〔20〕Hesayshisfathercannotabidehimbecauseheswearsathim。HesaysthecuratenolongercomestoteachhimanditisHeathcliff，whomheloves，whohastaughthimtoswear。Furthermore，heisdeterminedtobrutalizeHaretonashimselfwasbrutalized。ThisisevidentedbytheincidentofHareton’shangingthepuppies。Sofar，HeathcliffhassucceededinrevengingHindley’sinsultonthenextgeneration。Hiscrueltyiseasytofeel。
　　3。1。1。3FeminizedFemaleGothichero
　　AlthoughtheheroHeathcliffisdepictedtobeatypicaldevilishcharacterinGothicnovel，heisnotthesameasthoseintraditionalones。HisnatureissoftenedbyhisendlesslovetoCatherineandhisgivinginatlast。
　　HeathcliffcomesbacktoavengehimselfonHindleyandthenkillshimselfafterthreeyearsdisappearance。However，havingseenheragain，heknowshecandonothingtohurtCatherineandisabandoninghisvowofrevenge。EncountsCatherinehebecomesfulloftenderness。InparticularonthespotofCatherine’sdeathbed，thoughstillamonsterlikeman，hisaffectiontoCatherineisengravedonhisbonesandheart。
　　Onmyapproachinghurriedlytoascertainifshehadfainted，hegnashedatme，andfoamedlikeamaddog，andgatheredhertohimwithgreedyjealousy。IdidnotfeelasifIwereinthecompanyofacreatureofmyownspecies：itappearsthathewouldnotunderstand，thoughIsoIstoodoff，andheldmytongue，ingreatperplexity。〔25〕HereEmilyusestherhetoricofhyperboletodescribethesoulstirringscene，displayingthecrazy，brutal，mysterious，andterrifyinglovebetweentheheroandheroine。
　　Attheendofthestory，onthesurfaceitwouldappearthattheoldtragedymightbereenactedbytheyoungpeopleofthesecondgenerationatWutheringHeightsandThrushcrossGrange。However，whileCathy，Linton，andHaretonshowsomeofthecharacteristicsoftheirparents，thesetraitshavebeenmodified，andthereishopeforahappiersolutiontotheproblemspresented。EmilyhasingeniouslydesignedHareton，anotherHeathcliff，whoselifeismuchluckierthanHandthesamerelationshipthatexistedbetweenHeathcliff，Catherine，andEdgarisbeingrepeatedbetweenHareton，Cathy，andLinton。However，thenewgenerationreceivesamuchbetterending，andtosomeextent，ahappyone。
　　HeathcliffisafeminizedFemaleGothicherowhodeservesoursympathy。Hehasagloomychildhood，spendsmostofhislifeinthedarkofrevenge，andthusneverleadsarelaxedlife，especiallyafterCatherine’sdeath。HehasbeenobsessedbythefeelingsofCatherine’spresencenightandday。Hefeelshauntedandthawshimself。Hisrevengehasturnedtoashes。Afterhisdeath，therearechangesatWutheringHeights。Thegateisopenandflowersfilltheyard。Thesunissettingandthemoonrisingsymbolsofanewregime。TheflowersthatCathyandHaretonplantafteruprootingJoseph’sblackcurrantbushesareblooming。TheoldorderofvengeanceandretributionasrepresentedbyHeathcliffandoldJoseph，haspassedandhasbeenreplacedbythespiritoflove。AllthesearethebrightsidesofthisnovelandevidentlyembodyEmily’smakinguseofFemaleGothic。
　　AnotherkeycharacterinWutheringHeightsistheheroine，CatherineEarnshaw。ThefreespiritofEmilyBisepitomizedinCatherine，who，asachild，couldrideanyhorseinthestable，andinlateryearsridesroughshodovereveryonewhotriestostandinherway。Beautiful，wild，arrogant，andwillful，CatherineisafittingcompanionforthearrogantandvindictiveHeathcliff。Herloveforhimandthemoorsistherulingpassionofherlife。WhileshemayappearheartlesswhenshechoosestomarryEdgarLinton，veenoughtothinkthatbysodoingshewillbeabletolifthimfromthedegradationintowhichhehasbeenthrustbyHindley。
　　ThereisoneoccasionshowingCatherine’swildness。WhenNellyrefusestoleaveherandEdgarintheroomalone，Catherinetriestopushheroutoftheroomandpinchesherarm，leavinganuglymark。WhenthebabyHaretoncomplainsaboutwickedAuntCathy，〔26〕sheshakeshimuntilhisteethrattle，andEdgartriestointervene。ShedeniesshepinchedNelly，butNellyshowsEdgarthemark。Lividwithfury，CatherineboxesEdgar’ears。EdgarishorrifiedtoseethisothersideofCatherine，capableoftellingliesandbecomingviolent。EmilyusesthedescriptionofFemaleGothictoshowthatthenatureofhumanbeingshastwosides。Nooneisperfectandoneisboundtohavehisorheruglyside。AlthoughsheismarriedtoEdgar，sheisclearthatherloveforHeathcliffisrememberedwithdeepgratitude。ifthewickedmanintherehadnotbroughtHeathcliffsolow，Ishouldn’thavethoughtofit。ItwoulddegrademetomarryHsoheshallneverknowhowIandthatnotbecausehe’shandsome，Nelly，butbecausehe’smoremyselfthanIam。Whateveroursoulsaremadeof，andLinton’sisasdifferentasamoonbeamfromlightning，orfrostfromfire。〔27〕HereEmilyemploystheimageoftheNaturetosymbolizethedifferencesbetweenHeathcliff，Catherine，andEdgar’snature。IntheworldofEmily，thereisnodistinctionbetweenthegoodandtheevil。Catherine’sloveforHeathcliffisunparalleled。MyloveforLintonislikethefoliageinthewoods：timewillchangeit，I’mwellaware，aswinterchangesthetrees。MyloveforHeathcliffresemblestheeternalrocksbeneath：asourceoflittlevisibledelight，butnecessary。Nelly，IamHeathcliff！He’salways，alwaysinmymind：notasapleasure，anymorethanIamalwaysapleasuretomyself，butasmyownbeing。〔28〕TheextraordinarylovehardlyappearsinanyGothicnovels，inwhichtheloveisalwayscondensedormentionedcasually。ComparedwiththeordinaryGothiccharacters，theheroandheroineinEmily’sWutheringHeightsownmoretruefeelingsandfreshvigor。Catherine’smixedandconflictedattitudetowardshermarriagesplitsandtearsher。TheanguishvergingoncollapseandtheravingsinmorbidstatedifferfromtheoldGothictraditionandpavethewayforGothicnovels。EmilyBobservespeoplefromtheangleofthefeministportrayshercharactersfromtheaspectsofFemaleGothic，andthereforebringsustheshockofsupernaturalstrengthaswellasthevividportrayaloftheheroandtheheroines。ThefurtherresearchforthepsychologyoftheGothiccharactersdevelopstheshallowhorrormakingtechniqueintheoldGothicnovelsandsosoftenstheprimitive，pureterrortosomeextent。ItleavesthereadersmoreroomtodeveloptheirownthoughtandenhancesthedepthofthoughtandtheaestheticawarenessinGothicnovels。
　　3。2Terrifyingnightmares
　　TheterrifyingandmysteriousatmosphereformsinthenightmareofMr。Lockwood。NowhereelseinthebookisEmilyB’sgeniussovividlyrevealedasinthispart。Here，pastandpresent，dreamandreality，aremeldedintoacoherentwhole。Allreferencestieintogether：thebooksLockwoodfindsandreadsinthebedroom，thenamesthatarementioned，andfinally，Lockwood’sunbelievablyvividdreams。
　　Imuttered，knockingmyknucklesthroughtheglass，insteadofwhich，myfingersclosedonthefingersofalittle，icecoldhand！Theintensehorrorofnightmarecameoverme：Itriedtodrawbackmyarm，butthehandclungtoit，andamostmelancholyvoicesobbed，‘LetmeinLetmein！’Tandfindingituselesstoattemptshakingthecreatureoff，Ipulleditswaistontothebrokenpane，stillitwailed，‘Letmein！’andmaintaineditstenaciousgrip，almostmaddeningmewithfear。〔29〕ItisherethatEmilyintroducesthesupernaturalintothestory。CatherineistheonlyghostinMr。Lockwood’snightmare。Thenightmareisamasterpieceofsuspense。
　　NightmareisthecommonvehicleusedinGothicnovels。MostGothicnovelsareinspiredbydreams。ThisisparticularlytrueofEmily’sWutheringHeights。ThereisoneoccasionwhenEdgarconfrontsCatherineandtellshershemustchoosebetweenhimandHeathcliff，shefliesintoarage，locksthedoorandfortwodayssheremainsthere，touchingnofood。Herpsychicconflictsrisetotheclimax。Tossingabout，sheincreasedherfeverishbewildermenttomadness，andtorethepillowwithherteeth‘That’saturkey’s，’‘andthisisawildduck’s；andthisisapigeon’s’BwheelingeverourheadsinthemiddleofthemoorThisfeatherwaspickedupfromtheheath，wesawitsnestinthewinter，fulloflittleskeletons。Heathcliffsetatrapoverit，andtheoldonedarenotcome。〔30〕Catherine’sappallinghysteriaandtheseravingsseemtoshowthatsheisinthestateofdelirium。Actually，thedaydreamlikesurrealisticdescriptionunfoldsherpsychicstateofstruggleagainstanguishandfantasy。HerhearthasdriftedawaytotheoldgooddayswhensheandHeathcliffaretogether。ThispassageofCatherine’sdisorderedravingssuggeststheheroinehassufferedseverelyfromtheanguishjustrightfortheoccasion。Byapplyingthisvehicle，whatEmilyBfeelslikeexpressingisnotonlytocreateanatmosphereofterrorbutalsotoestablishtheemotionsuspense，andthensetupauniquestructureforthewholestory，whichembodiesthecolorofFemaleGothicatthesametime。
　　4。Conclusion
　　ItiscommonthatmanycriticstakeGothicnovelsasblacknovels。Inparticular，theyholdhighprejudicetothosewhowriteinthisstyle。ThereisnodoubtthatEmilyBisregardedasawriteroutofthemainstreamofthenovelsinthe19thcentury。Herstyleisclearandsimplebutchargedwithtremendousvitality。ShedoesnotwriteformoralandsocialeffectasCharlesDickensdoes。Shewritesfortherhythmofhersentencesandtheexactchoiceofwordconveyshermeaningexplicitly。Thestyleissocondensed，likethatofapoetthateverywordmustberead，orsomevitalpointwillbemissed。Thesmallerobjectorsnatchofconversationhassomepartinthewholestructure。Forher，theuseofGothicisnotjusttoproduceaterrifyingatmosphereandmakereaderssickliketheGothicnovels，butsetupamoreperfectstructureandthenshowusthecomplicatedpsychologyofthecharacters。Byportrayingthedevilishcharactersandtheterrifyingnightmare，EmilyBfindsanewwaytoexpressfeelingsFemaleGothic。Shepaysmoreattentiontothenatureofprotagonistsandholdsthatthereisnodefiniteborderlinebetweenthegoodandtheevil。Herboundlessimaginationandrealisticdepictionservebetterfortheportrayalofthecharacters。InheritingGothictraditioninherwriting，shedevelopsitfromherownangle。HeronlynovelWutheringHeightsisagoodembodimentofherFemaleGothictechnique。Thenovelmaybeconsideredasagreatlyricpoemforitaboundsinimagery。EmilyB’swritingisalsomosteffectivewhen