How Is Figurative Language Used In Wuthering Heights?

Updated 8 November, 2023
In ''Wuthering Heights'' the author, Emily Bronte,uses several types of figurative language to engage readers in this story of the self-destructive desire for revenge. She does this by means of symbolism, metaphors, foreshadowing, and similes in particular.
Detailed answer:

There are different types of figurative language such as symbolism, metaphors, foreshadowing, and similes seen in Emily Bronte's “Wuthering Heights”.
An example of metaphor is seen in Chapter 10, as it says "It was not the thorn bending to the honeysuckles, but the honeysuckles embracing the thorn." In this metaphor, Catherine is being compared to thorns and the Lintons are like the honeysuckles. We learn that Catherine is stubborn and edgy, while the Lintons are sweet. So, the Lintons take Catherine in and are nice enough to do what pleases her despite her attitude rather than Catherine changing to their personalities.
One of the examples of symbolism displayed in Wuthering Heights is the moors. A Moorland or moor is a type of habitat found in upland areas in temperate grasslands, savannas, characterized by low-growing vegetation. The moorland symbolizes the destructive bond between Catherine and Heathcliff because of the moors danger that surrounds it.
Another type of figurative language, foreshadowing, is displayed during Lockwood's initial visit to Wuthering Heights, in which the mysterious relationships and lurking resentments between the characters create an air of mystery; Lockwood's ghostly nightmares, during the night he spends in Catherine's old bed, are an early indication of many of the events of the rest of the novel.
Lastly, similes are also freguently used in the novel. In Chapter 9, Catherine uses the similes of foliage and rocks to compare her love for Linton and her love for Heathcliff:
“My love for Linton is like the foliage in the woods. Time will change it, I'm well aware, as winter changes the trees — my love for Heathcliff resembles the eternal rocks beneath — a source of little visible delight, but necessary. Nelly, I am Heathcliff — he's always, always in my mind — not as a pleasure [...] but, as my own being.”

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