My answer is that the emotions of Heathcliffe and Catherine Earnshaw function differently to other emotions in fiction. Instead of inhabiting the characters, they surround them like thunder clouds, and generate the explosions that fill the novel from the moment when Lockwood dreams of the hand at the window down to the moment when Heathcliffe, with the same window open, is discovered dead. Wuthering Heights is filled with sound—storm and rushing wind—a sound more important than words and thoughts. Great as the novel is, one cannot afterwards remember anything in it but Heathcliffe and the elder Catherine. They cause the action by their separation: they close it by their union after death. No wonder they “walk”; what else could such beings do? even when they were alive their love and hate transcended them.
Emily Brontë had in some ways a literal and careful mind. She constructed her novel on a time chart even more elaborate than Miss Austen’s, and she arranged the Linton and Earnshaw families symmetrically, and she had a clear idea of the various legal steps by which Heathcliffe gained possession of their two properties.8 Then why did she deliberately introduce muddle, chaos, tempest? Because in our sense of the word she was a prophetess: because what is implied is more important to her than what is said; and only in confusion could the figures of Heathcliffe and Catherine externalize their passion till it streamed through the house and over the moors. Wuthering Heights has no mythology beyond what these two characters provide: no great book is more cut off from the universals of Heaven and Hell. It is local, like the spirits it engenders, and whereas we may meet Moby Dick in any pond, we shall only encounter them among the harebells and limestone of their own county.
A concluding remark. Always, at the back of my mind, there lurks a reservation about this prophetic stuff, a reservation which some will make more strongly while others will not make it at all. Fantasy has asked us to pay something extra; and now prophecy asks for humility and even for a suspension of the sense of humour, so that we are not allowed to snigger when a tragedy is called Billy Budd. We have indeed to lay aside the single vision which we bring to most of literature and life and have been trying to use through most of our enquiry, and take up a different set of tools. Is this right? Another prophet, Blake, had no doubt that it was right.
May God us keep
From single vision and Newton’s sleep,
he cried and he has painted that same Newton with a pair of compasses in his hand, describing a miserable mathematical triangle, and turning his back upon the gorgeous and immeasurable water growths of Moby Dick. Few will agree with Blake. Fewer will agree with Blake’s Newton. Most of us will be eclectics to this side or that according to our temperament. The human mind is not a dignified organ, and I do not see how we can exercise it sincerely except through eclecticism. And the only advice I would offer my fellow eclectics is: “Do not be proud of your inconsistency. It is a pity, it is a pity that we should be equipped like this. It is a pity that Man cannot be at the same time impressive and truthful.” For the first five lectures of this course we have used more or less the same set of tools. This time and last we have had to lay them down. Next time we shall take them up again, but with no certainty that they are the best equipment for a critic or that there is such a thing as a critical equipment.
VIII
Pattern and Rhythm
Our interludes, gay and grave, are over, and we return to the general scheme of the course. We began with the story, and having considered human beings, we proceeded to the plot which springs out of the story. Now we must consider something which springs mainly out of the plot, and to which the characters and any other element present also contribute. For this new aspect there appears to be no literary word—indeed the more the arts develop the more they depend on each other for definition. We will borrow from painting first and call it the pattern. Later we will borrow from music and call it rhythm. Unfortunately both these words are vague—when people apply rhythm or pattern to literature they are apt not to say what they mean and not to finish their sentences: it is, “Oh, but surely the rhythm …” or “Oh, but if you call that pattern …”
Before I discuss what pattern entails, and what qualities a reader must bring to its appreciation, I will give two examples of books with patterns so definite that a pictorial image sums them up: a book the shape of an hourglass and a book the shape of a grand chain in that old-time dance, the Lancers.
Thaïs, by Anatole France, is the shape of an hourglass.
There are two chief characters, Paphnuce the ascetic, Thaïs the courtesan. Paphnuce lives in the desert, he is saved and happy when the book starts. Thaïs leads a life of sin in Alexandria, and it is his duty to save her. In the central scene of the book they approach, he succeeds; she goes into a monastery and gains salvation, because she has met him, but he, because he has met her, is damned. The two characters converge, cross, and recede with mathematical precision, and part of the pleasure we get from the book is due to this. Such is the pattern of Thaïs—so simple that it makes a good starting-point for a difficult survey. It is the same as the story of Thaïs, when events unroll in their time-sequence, and the same as the
