Haunting of Future in Gothic Novels: A Critical Analysis of Wuthering Heights and The Turn of the Screw

This article critically analyzes the use of haunting of future in gothic novels like Wuthering Heights and The Turn of the Screw. It explores the themes of jealousy, ghosts, love, revenge and greed in these novels. The article discusses how these novels violate the traditional norms of gothic genre and create a sense of suspense and anticipation of future events. The article also discusses the characterizations of the main characters in these novels and how they contribute to the theme of haunting of future.

English Literature
Name of the student
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Author note

A typical convention of gothic novels is haunting by ghosts or by the past. However, some of
the texts we have looked at this semester show not only the haunting of history but the
haunting of the future. Critically analyze the use these texts make of bringing the present face-
to-face with the time to come.
Introduction
The gothic genre of writing marks its origin during the time of the movement of the
romantic writers. The most popular names of gothic novels are Horace Walpole’s ‘The Castle of
Oranto’ ‘Dracula’, ‘Frankenstein’ and so on. All the novels have some similarities some way or
the other in terms of gothic elements in them. 1For instance, mostly the novels of gothic genre
build up in such a setting which generates fear and suspense. The setting always involve the
quite dark, scary and isolation. In addition, the characters of the gothic novels are portrayed to be
not fitted in the community and the society. However, certain works were there which violated
the classical norms of gothic genre. To be very specific, traditional or typical convention of
horror novels have the settings of being haunted by unpleasant past memories or by supernatural
elements like ghosts. However, as mentioned in the above some of the gothic novels also have
the setting contradicting the conventional setting with haunting of present. Such two novel are
namely, Emily Bronte’s ‘Wuthering Heights’ and Henry James’s ‘The Turn of the Screw’. Thus
the whole discussion will elaborate how the two of the novels brought the theme of haunting of
past into forth.
1 Gale, Cengage Learning. A Study Guide for" Gothic Literature". Gale, Cengage Learning,
2016.

Discussion
The gothic elements: jealousy, ghosts, love, revenge and greed are the some of the most
predominant themes of Emily Bronte’s ‘Wuthering Heights’ while defining both death and time.
There is no real hero in story of Wuthering Heights, rather the leading male character played the
role of a villain whereas the heroine played neither the role of leading protagonist nor the role of
an angel2. The main gothic nature is given to the novel by the love triangle of Catherine,
Heathcliff and Edgar. In the novel, Heathcliff and Catherine love each other but Catherine ends
up marrying Edgar as she says, “heaven did not seem to be my home; and I broke my heart
with weeping to come back to earth; and the angels were so angry that they flung me out, into
the middle of the heath on the top of Wuthering Heights; where I woke sobbing for joy”3. Even
when it seems that Heathcliff’s actions are cruel, they were driven by the love of the Catherine
for Heathcliff since she believes Heathcliff’s future can be secured if she marries Edgar. Hence,
the uncertainty, fear of future remained dominant theme of the novel which kept the readers into
complete guess.
‘The Turn of the Screw’ by Henry James in the meantime is a true example of gothic
fiction 4. The theme of horror and haunting of future have been established dominantly by the
confusing plot of the novel. As the story gradually unfolds, the readers left with questions than
answers; for instance when the governess says, “She offered her mind to my disclosures as, had
2 Moura, Caroline Navarrina de. "A walk with Catherine and Jane: the exposure of gothic conventions in Emily
Brontë’s Wuthering Heights and Charlotte Brontë’s Jane
3 Haijuan, F. U. "An Interpretation of Emily Bronte’s Gothic Complex in Wuthering
Heights." Studies in Literature and Language 6, no. 3 (2013): 53-59.
4 Karafilis, Maria. "Dead Women Talking: Figures of Injustice in American Literature, by Brian
Norman: The Johns Hopkins UP, 2013." (2017): 852-854.

I wished to mix a witch’s broth and propose it with assurance, she would have held out a large
clean saucepan.”5. The major element contributing to that is nothing but the element of suspense
which creates an uncertain feeling within the characters with a sensation of darkness.
Both the two novels can be seen the gothic component such as envy, apparitions, love,
retribution and covetousness. While envy is one of the most absolute overwhelming subjects of
Emily Bronte's 'Wuthering Heights', the characterizing can also be seen with both demise and
time6. No genuine saint can be seen in story of Wuthering Heights, rather the main male
character assumed the job of a scalawag while the courageous woman assumed neither the job of
driving changes nor the job of a heavenly attendant7. The fundamental gothic nature is given to
the novel by the affection triangle between the three main characters. The novel begins with the
two protagonists cherish love and affection with one another however Catherine winds up
wedding Edgar. During the course of the events, it appears that the villain as well as the hero of
the novel, Heathcliff’s activities are brutal and they driving force behind them are his adoration
for the heroine Catherine and vice-versa since she thinks that future of Heathcliff can be
anchored in the event that she weds Edgar 8. Thus with the lines “I wish I were out of doors – I
wish I were a girl again, half savage and hardy, and free … and laughing at injuries, not
5 Ogden, James, Peter Cook, and Sara L. Pearson. "A Brontë Reading List: Part 8." Brontë Studies 42, no. 4 (2017):
351-360
6 Glasser, Rachel. Projections of the not-me": Redemptive possibilities of the Gothic within"
Wuthering Heights" and" Beloved. Wake Forest University, 2015.
7 Thornham, Sue. "‘Not a country at all’: Landscape and Wuthering Heights." Journal of British
Cinema and Television13, no. 1 (2016): 214-231.
8 Hoeveler, Diane Long. "The Brontës and the Gothic Tradition." A Companion to the Brontës 96
(2016): 31.

maddening under them! Why am I so changed? why does my blood rush into a hell of tumult
at a few words? I’m sure I should be myself were I once among the heather on those hills …
“9, the plot is develops with vulnerability, dread of future stayed prevailing subject of the novel
which remained the audience into compete guess.
Henry James in also in his novel ‘The Turn of the Screw' skillfully articulated the gothic
components in order to give an essence of horror as well as mystery to the readers. The subject
of repulsiveness and frequenting of future have been built up predominantly by the befuddling
plot of the fiction. With the unfurling of the story, the audiences are left with guessing and
queries. The real component adding to the sense of horror is particularly not anticipation that
makes a dubious inclination inside the characters with an impression of murkiness.
In most of the novels of gothic genre, begrudge and avarice are irrefutably the most
overpowering subjects and both the two novels are no exceptions while portraying the sense of
suspense and anticipation of future as implied by the lines “And it stirred. Who is it? I hope it
will not come out when you are gone! Oh! Nelly, the room is haunted! I’m afraid of being
alone!”10 The narrative of ‘Wuthering Heights’ is seen with no particularly central character,
rather the fundamental male character accepted the activity of a lowlife while the gallant lady
expected neither the activity of driving legend nor the activity of a wonderful chaperon. The
principal gothic nature is articulated by the complicated relationships between the protagonists
Catherine and Heathcliff, and Antagonists Edgar. Even if he incidents of the narrative apparently
9 Myburgh, Albert. "Cathy’s Subversive ‘Black Art’in Emily Brontë’s Wuthering
Heights." English Academy Review 35, no. 1 (2018): 61-72.
10 Navarette, Susan Jennifer. The shape of fear: horror and the fin de siècle culture of decadence.
University Press of Kentucky, 2015.

shows that Heathcliff and Catherine appreciate each other, the theme of revenge takes place
anyway as Edgar comes in between the relationship of Catherine and Heathcliff. Despite when it
creates the impression that exercises are ruthless as Heathcliff wants to take revenge, the
narrative clearly shows that Catherine’s love for Heathcliff is responsible and she nothing but
exploits the love or generosity of the Edgar11. James’s 'The Turn of the Screw' further supports
the concept of future haunting as it also gives a bona fide instance of gothic fiction. The subject
of awfulness and frequenting of future have been developed overwhelmingly by the bewildering
plot of the novel and the rest of the part of the novel left with anticipation as the story a tiny bit at
a time spreads out 12. The genuine segment adding to that is just the part of expectation which
make a questionable tendency with an impression of cloudiness.
In respect to that it needs to be discussed that the gothic class of composing marks its
starting point amid the season of the development of the romanticism. With the names of Horace
Walpole's 'The Castle of Oranto' and 'Frankenstein’, a few similitude in any case can be seen
with the two novels. For example, both the books of gothic class develop in such a setting which
creates dread and tension. The setting dependably includes the very dim, terrifying and seclusion.
Furthermore, the characters of the gothic books are depicted to be not fitted in the network and
the general public. The use of the elements of future haunting in the works makes it out of the
traditional standards of gothic kind. The customary or commonplace traditions of gothic possess
the settings of being spooky by upsetting past recollections or by heavenly components like
11 Snodgrass, Mary Ellen. Encyclopedia of gothic literature. Infobase Publishing, 2014
12 Buckley, Chloé Germaine. "“You Don’t Think I’m Like Any Other Boy. That’s Why You’re
Afraid”: Haunted/Haunting Children from The Turn of the Screw to Tales of Terror." In The
Palgrave Handbook to Horror Literature, pp. 233-247. Palgrave Macmillan, Cham, 2018.

phantoms. In any case, as made reference to in the over a portion of the gothic books additionally
have the setting negating the ordinary setting with frequenting of present. These two novels are
specifically, Emily Bronte's 'Wuthering Heights' and Henry James' 'The Turn of the Screw’
subsequently expand how the anticipation of future events create horror.
Resent, phantoms, retaliation and covetousness are certainly the most overwhelming
subjects of the two fictions while depicting the theme of haunting of future. No true sacred
individual can be observed in story of ‘Wuthering Heights’, rather the key male character
acknowledged the action of a heel. At theme time, the courageous woman is portrayed neither
the action of driving legend nor the movement of a great escort. The fragmentation of horror is
provided to the novel by the author’s characterizations of the main characters. The author values
the complications of human feelings as Catherine; the one of the main characters of the novel
marries the person whom she does not love with the intention of securing the future of her
beloved. The actions of Catherine to make Heathcliff's future secured on the off chance that she
weds Edgar are seen to be main cause of the Heathcliff's merciless activities. From the very
point, when the main characters start developing the sense of revenge within them, the
shortcoming, dread of future stayed dominant themes of the novel which hold the essence of
haunting of future.
James’s novel is not only can be stated as the perfect example of gothic fiction but also it
is the true portrayal of dreadfulness and frequenting of future which produces a mysterious sense
as suggested by the lines, “She isn’t there little lady, and nobody’s there – and you never see
nothing, my sweet! How can poor Miss Jessel – when poor Miss Jessel’s dead and buried? We
know, don’t we love? … It’s all a mere mistake and a worry and a joke – and we’ll go home as

fast as we can!”13. A minor piece at any given moment spreads out with the audiences leaving
with a curious nature14. Not exactly oppose to the goodness, rather more than a sense of suspense
is added by the novel as the desire of to know more which make a flawed inclination along with
impression of darkness.
James through his characterizations of the governess, Mrs Grose, Flora, Miles, Peter
Quint, Miss Jessel, the gentleman in Harley Street, Luke, Douglas, Griffin, Mrs Griffin, friends,
servants and most importantly the narrator were portrayed with the elements like dislike,
apparitions, love, striking back and rapaciousness unquestionably developed the theme of
haunting of future in the fiction 'The Turn of the Screw' while portraying annihilation. Unlike
‘Wuthering Heights’, there is a hallowed individual in story of James as the key male character
recognized the activity of a foot sole area while the valiant lady is portrayed with the activity of
driving legend and the development of an extraordinary driving force. The imperative gothic
nature is added to the novel by the characterization of governess, Mrs. Gross, Flora and Miles.
“You don’t see her exactly as we see? … She’s as big as a blazing fire! Only look, dearest
woman, look--!”15, implies that the events of the novel it makes the inclination that Flora’s
13 Gilbert, Katherine Anne. "" I wish I could annihilate it from the face of the earth": Property
Law, Bodies, and Acts of Marking in Wuthering Heights." Victorians: A Journal of Culture and
Literature 131, no. 1 (2017): 68-81.
14 Cranfill, Thomas Mabry, and Robert Lanier Clark Jr. An anatomy of The Turn of the Screw.
University of Texas Press, 2014.
15 Bennett, Bridget. "‘The Dear Old Sacred Terror’: Spiritualism and the Supernatural from The
Bostonians to The Turn of The Screw." The Ashgate Research Companion to Nineteenth-

exercises are suspicious, they were driven by the other characters of the novel since the entire
course of the happenings unfurl a setting of not so distant, the weakness and fear of future
incidents that remained very constant themes in the novel. 'The Turn of the Screw' is also
instance of gothic fiction with the subject of ghastliness and frequenting of future has been
created overwhelmingly by the dumbfounding plot of the novel. The story at some random
minutes unfurls, the audiences left with curiosity. The true blue segment adding to that is just the
bit of want which make a defective tendency among not only the characters but also the readers
with an impression of haunting16.
The genre of horror marks its starting stage amidst the time of the enhancement the
romantic period. The majority of the gothic creations have two or three essential characteristics
of horror parts in them. For example, by and large the books of gothic class make in such a
setting which involve dread and weight. The setting dependably as well as astoundingly lessens
disturbance and confinement. In addition, the characters of the two gothic are depicted to be not
fitted in the general framework and the general populace. In any case, certain works were there
which do not follow the customary rules of gothic kind. To be certain, standard or run of the mill
tradition of loathsomeness books have the settings of being frightening by bothering past
recollections or by extraordinary sections like phantoms. However, as made reference to in the
over a portion of the gothic books moreover have the setting invalidating the standard setting
with frequenting of future.
Conclusion
Century Spiritualism and the Occult (2016): 311.
16 James, Henry. The Turn of the Screw and Other Ghost Stories. Penguin UK, 2017

Thus in order to conclude, it can be stated that the gothic genre its beginning stage in the
midst of the period of the advancement of the nostalgic writers. The most conspicuous names of
gothic novels are particularly, Emily Bronte's 'Wuthering Heights' and Henry James' 'The Turn of
the Screw'. Both of the books have a couple of comparable qualities someway or alternate similar
to gothic segments in them. For instance, generally the books of gothic class create in such a
setting which makes fear and pressure. The setting constantly incorporate the exceptionally
diminish, startling and isolation. To be very sure, standard or ordinary convention of terribleness
books have the settings of being creepy by disquieting past memories or by glorious segments
like apparitions. Furthermore, the two novels that have been discussed nullifying the
conventional set with horror of future. Therefore the whole elaboration extended how the two of
the books brought the above mentioned theme.

References
Bennett, Bridget. "‘The Dear Old Sacred Terror’: Spiritualism and the Supernatural from
The Bostonians to The Turn of The Screw." The Ashgate Research Companion to
Nineteenth-Century Spiritualism and the Occult (2016): 311.
Buckley, Chloé Germaine. "“You Don’t Think I’m Like Any Other Boy. That’s Why You’re
Afraid”: Haunted/Haunting Children from The Turn of the Screw to Tales of Terror." In The
Palgrave Handbook to Horror Literature, pp. 233-247. Palgrave Macmillan, Cham, 2018.
Cranfill, Thomas Mabry, and Robert Lanier Clark Jr. An anatomy of The Turn of the Screw.
University of Texas Press, 2014.
Gale, Cengage Learning. A Study Guide for" Gothic Literature". Gale, Cengage Learning, 2016.
Gilbert, Katherine Anne. "" I wish I could annihilate it from the face of the earth":
Property Law, Bodies, and Acts of Marking in Wuthering Heights." Victorians: A Journal
of Culture and Literature 131, no. 1 (2017): 68-81.
Glasser, Rachel. Projections of the not-me": Redemptive possibilities of the Gothic within"
Wuthering Heights" and" Beloved. Wake Forest University, 2015.
Haijuan, F. U. "An Interpretation of Emily Bronte’s Gothic Complex in Wuthering
Heights." Studies in Literature and Language 6, no. 3 (2013): 53-59.
Hoeveler, Diane Long. "The Brontës and the Gothic Tradition." A Companion to the Brontës 96
(2016): 31.
James, Henry. The Turn of the Screw and Other Ghost Stories. Penguin UK, 2017.

Karafilis, Maria. "Dead Women Talking: Figures of Injustice in American Literature, by
Brian Norman: The Johns Hopkins UP, 2013." (2017): 852-854.
Moura, Caroline Navarrina de. "A walk with Catherine and Jane: the exposure of gothic
conventions in Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre." (2017).
Myburgh, Albert. "Cathy’s Subversive ‘Black Art’in Emily Brontë’s Wuthering
Heights." English Academy Review 35, no. 1 (2018): 61-72.
Navarette, Susan Jennifer. The shape of fear: horror and the fin de siècle culture of decadence.
University Press of Kentucky, 2015.
Ogden, James, Peter Cook, and Sara L. Pearson. "A Brontë Reading List: Part 8." Brontë
Studies 42, no. 4 (2017): 351-360.
Snodgrass, Mary Ellen. Encyclopedia of gothic literature. Infobase Publishing, 2014.
Thornham, Sue. "‘Not a country at all’: Landscape and Wuthering Heights." Journal of British
Cinema and Television13, no. 1 (2016): 214-231.