论艾米莉·勃朗特诗歌意象的多重象征
《呼啸山庄》象征元素分析
《呼啸山庄》象征元素分析摘要在艾米莉·勃朗特唯一传世的经典小说《呼啸山庄》中，作者成功运用象征主义手法来渲染环境，表达人物的内心世界，深化爱情主题。
本文试图对这部小说中的象征主义元素的深刻含义进行分析，从而阐述象征主义的主要作用。
关键词：《呼啸山庄》象征主义中图分类号：i106.4 文献标识码：a艾米莉·勃朗特（emily bronte）是英国维多利亚时代一位杰出的女性作家。
她的代表作《呼啸山庄》充满浓郁的田野风光，在众多同时期的小说中独树一帜。
它是一部唯一不会被时光的尘土掩盖其光芒的小说。
艾米莉强烈的诗歌般的感情，丰富的想象力和对爱情的独特理解使她在英国文学史甚至是世界文学史上都占据着重要的位置。
象征主义源于19世纪晚期的法国象征主义运动，是一种艺术表现手法，它使意念具有能摸得到的形貌，被广泛应用于文学、音乐、美术等各个领域。
象征主义已成为现代小说中一种重要的创作手法，它使用暗指等方式把作品中所蕴含的抽象、深刻的主题淋漓尽致地表达出来。
艾米莉在《呼啸山庄》中大量使用象征元素，比如山庄名称、人物姓名、暴风雨、树等，来表达她对社会、对人性、对爱情的理解。
本文主要分析这部小说中象征元素的深刻含义，以便充分地理解这部文学巨著的主题。
一山庄名称的象征含义呼啸山庄（wuthering heights）和画眉山庄（thrushcrossgrange）是这部小说的两大主要住所名称。
它们都具有深刻的象征意义。
前者英文含义指的是暴风雨洗礼中的高地。
汉语中有一句诗很能表达它的意思：“山雨欲来风满楼”。
呼啸山庄坐落在光秃秃的山顶，周围几乎不见任何草木。
呼啸山庄是严峻、无情、权力的象征。
因此，生活在这里的人们，比如男女主人公凯瑟琳和希斯克利夫，也是脾气暴躁、粗犷、无拘无束。
同时，他们又具有反叛精神并充满活力。
与其不同的画眉山庄是一个宁静祥和之所。
画眉（thrush）是一种漂亮的会唱歌的小鸟，并且只有在万里无云、阳光明媚的日子里才会唱出动听的歌曲。
论《呼啸山庄》中的象征艺术
论《呼啸山庄》中的象征艺术作者：马英华来源：《青年文学家》2013年第19期摘要：《呼啸山庄》之所以出名，原因在于作者艾米莉·勃朗特在作品中大量使用象征艺术，用一系列事物的象征手法来揭示作品中人物的性格。
在《呼啸山庄》中，她运用了呼啸山庄、画眉山庄、窗和树木等事物做象征，通过对它们的描写突出了作品中人物的个性以及人与人之间的情感纠葛。
关键词：呼啸山庄；象征艺术作者简介：马英华（1982-），女，山东滕州人，济南幼儿师范高等专科学校，讲师，比较文学与世界文学硕士，主要从事外国文学教学及研究。
[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-213（2013）-19-0-01《呼啸山庄》是艾米莉·勃朗特的代表作，也算是她在有生之年写的唯一一部长篇小说。
不过这部小说一经问世并未受到广泛好评，反而由于注重刻画人物的黑暗面以及人性的堕落而饱受争议，被评论为“恐怖的、可怕的、令人作呕的小说”。
后来随着后现实主义小说的兴起，人们才逐渐重视起这部小说。
《呼啸山庄》这部小说之所以出名是因为作者艾米莉·勃朗特采用了多重叙事风格，使每条故事线都能紧密相连，故事情节扣人心弦。
此外艾米莉·勃朗特还大量采用了象征的表现手法，使读者更能深刻体会到小说的独特情景。
本文就对《呼啸山庄》中象征手法的运用加以论述。
象征手法是根据某些事物之间的特定联系，借助某人某物的具体形象（象征体），以表现某种抽象的概念、思想和情感。
它可以使文章立意高远，含蓄深刻。
恰当地运用象征手法，可以将某些比较抽象的精神品质化为具体的可以感知的形象，从而给读者留下深刻的印象，赋予文章以深意，从而给读者留下咀嚼回味的余地。
象征的表现效果是：寓意深刻，能丰富人们的联想，耐人寻味，使人获得意境无穷的感觉；能给人以简练、形象的实感，能表达真挚的感情。
[1]一、呼啸山庄和画眉山庄的象征意义在小说中，故事情节发生的做主要的两个场地情景就是呼啸山庄和画眉山庄。
试分析艾米莉·勃朗特的诗歌艺术
试分析艾米莉·勃朗特的诗歌艺术作者：谢庭玉来源：《赢未来》2017年第04期摘要：时至今日，作家艾米莉·勃朗特为人熟知的作品是她的小说《呼啸山庄》，但是正因为这本小说过于精彩，导致她在其他方面的才华被淹没，使人们对她的诗歌方面的艺术没有全面的认识，为了让大家了解她更多的才华艺术，文章就艾米莉·勃朗特在诗歌方面的叙事、绘画、意象艺术三个方面做了分析，并从诗歌的特色方面对其诗歌方面的造诣和独特的风格艺术就行了探讨。
关键词：艾米莉·勃朗特；诗歌特色；诗歌艺术艾米莉·勃朗特一生中最著名的作品是《呼啸山庄》，同时作为她的代表作，这部小说也是人们研究关注的重点，因此对于她的诗歌方面的造诣，人们关注较少，其实不然，她的诗歌作品有着与小说完全不同的思想内涵，人们只是片面的关注艾米莉·勃朗特，让她的诗歌生活在小说《呼啸山庄》的光环之下，我们应当以一个全面的角度欣赏一个作家。
一、艾米莉·勃朗特诗歌的叙事艺术（一）叙事视角的双重移动叙事视角是一部作品审视世界的角度和眼光，从某种程度上，也代表了作者内心的想法，是一种抒发主观情感的方式。
艾米莉·勃朗特就是应用叙事视角来抒写她的诗歌，她将她所看到的、理解的世界，转化为诗歌叙事世界的角度。
例如她在诗歌作品《贡达尔史诗》中应用的是第一人称叙事视角，将艾米莉·勃朗特自身划定为故事的主角，通过主人公在故事中身临其境的感受，增强文学作品的可信度和认知。
（二）审美视点内外的双重交融审美视点的内外交融指内外视点文学。
视点文学主要是实现诗人和美学之间的一种关系，一般内视点文学是诗以及他的抒情问题，代表类型是抒情诗；外视点是非诗文学，代表类型是戏剧和散文。
其中《贡达尔史诗》就是一部典型的外视点文学，作者利用内外视点的转换，实现了她对于诗歌内容的把握，灵活的表现出她笔下三个情人之间的情感和爱情。
[1]（三）叙述者与主人公之间的双重统一阅读过艾米莉·勃朗特诗歌中《贡达尔史诗》这首诗的人，不难发现艾米莉·勃朗特经常以叙述者和抒情主人公之间的双重角色出现在作品中，因为整部史诗的内容和情节都非常复杂，需要对情节的构建非常清晰，使文章情节环环相扣，达到叙述者和抒情主人公有相同情感的作用。
埃米莉勃朗特诗文叙述艺术
埃米莉勃朗特诗文叙述艺术19世纪初中期，英国很多女性作家在其文学作品中已开始从不同角度表现出对女性问题的注重和思考。
埃米莉勃朗特是最早在其作品中表达女性意识的女性作家之一。
虽然其一生短暂，没有丰富的阅历和漫长的创作生涯。
不过，埃米莉的诗歌创作无论是题材上，还是诗艺上或表现手法上都展示出相当高的水准。
虽然生活在19世纪，但是埃米莉的创作艺术却和现代主义和后现代主义有很多相似之处。
这不但体现在她的诗歌思想和题材上，也表现在她的诗艺上。
其叙事人称、叙事视角、叙事手法和叙事模式等，都有独到之处。
一多人称的叙事手法多人称叙述手法是埃米莉诗歌的一大特色。
在“贡达拉”诗歌中，她通常采用多人称叙述方法，从第一、二、三人称的角度去描述一个对象，以求得对其全面的立体的反映，让读者从不同角度去了解和感知同一对象，以便作出自我判断。
如第152首：“我没有哭泣，我不会哭泣；我们的母亲并不需要眼泪；你也擦干眼泪，何苦呢多年怀着这样无故的悲伤。
……我们凡人的躯体，那又怎么样？倘若她的手永远再也不能梳捋你那些柔软光滑的丝发……她慈祥的面容再也不能关照你，又如何？请你记住，她还没有亡故，杰拉尔德，此刻她正看着我们，……你知道，把我们留在人间她很可能会感到非常难过，这倒不是她再也不能回来回来和我们分担人间痛苦。
”这首诗就是用了多人称叙事手法，叙述了安奇利加和阿米多斯对已故母亲的怀念。
其中，有人物第一、第二和第三人称。
诗中人物就是阿尔佛雷德的女儿安奇利加和阿米多斯。
在贡达拉故事里，阿米多斯是个忧伤的黑孩子，身份不明，也许是个孤儿，安奇利加收养他为兄弟，后来成为她的恋人。
安奇利加的母亲死后，父亲阿尔佛雷德和奥格斯塔结婚。
此后，安奇利加和阿米多斯受尽奥格斯塔的虐待。
这首诗写的就是他们对已故母亲的思念及悲伤之中相互安慰的情景。
诗歌采用多人称的叙事手法，从不同角度反映不同人物对母亲去世的态度。
除了采用多人称叙述手法，在相关个人感情和人生哲理的诗歌里，埃米莉也采用了作者第一人称，以亲历者的身份来直接叙述，参与或见证相关事件或情景，以“我”的眼光来看待或体验相关事件，并叙述事件发生的过程或抒发自我思想感情。
《呼啸山庄》的意象研究
《呼啸山庄》的意象研究艾米莉·勃朗特是十九世纪英国最重要的小说家之一。
她唯一的小说《呼啸山庄》被公认为英国小说中最伟大的作品之一，在英国乃至世界文学史上占有重要的地位。
作者在《呼啸山庄》中运用了象征手法和大量的意象，为小说增色不少。
本文笔者将小说中的意象归类为自然意象和非自然意象两类。
在自然意象中选取荒原，天气和季节，火焰，飞蛾，兰铃花和石楠丛作为研究对象；在非自然意象中选取书籍、窗户、鬼魂、呼啸山庄和画眉山庄作为研究对象。
用文学批评的原理，分析这些具有代表性的意象，探讨作品中的象征手法的运用。
以此解读《呼啸山庄》，帮助读者更好地理解这一部十九世纪英国最杰出的文学巨作。
1．I ntroductionEmily Brontë (1818-1848),the author of Wuthering Heights, is the famous poetess and novelist in the nineteenth century of English literature. However, she is a novelist so much more than she is a poetess, for the only novel Wuthering Heights, which makes her the one of the most famous novelists in nineteenth century of English literature, even in the world literature. And Wuthering Heights, as well as Jane Eyre (by Charlotte Brontë), is considered as a precious pearl of English literary heritage.Nevertheless, when Wuthering Heights was first published in 1847, there was little admiration but a torrent of abuse. Owing to the writing style used in Wuthering Heights against the one in that time, Victorian literary critics and readers could not understand this work. Nowadays, more and more readers accept and admire this novel. Besides, considerable scholars study this classical work, basing on the theory of religion, psychology, esthetics, literature and art and the like. Especially, symbolism and imagery used in quantity in Wuthering Heights make the story meaningful and vividly, which impresses readers favourably.By analyzing some critical images, this thesis studies symbolism and imageryused in Wuthering Heights to explore the real value of this novel and help readers to understand this excellent work better . from /2．Background of Wuthering Heights2.1Personal experience of Emily BrontëThe author Emily Brontë lived an eccentric, closely guarded life. She was born in 1818, two years after Charlotte and a year and a half before her sister Anne, who also became an author. Her father worked as a church rector, and her aunt, who raised the Brontë children after their mother died, was deeply religious. Emily Brontë did not take to her aunt’s Christian fervor; the character of Joseph, a caricature of an evangelical, may have been inspired by her aunt’s religiosity. The Brontës lived in Haworth, a Yorkshire village in the midst of the moors. These wild, desolate expanses—later the setting of Wuthering Heights—made up the Brontës’ daily environment, and Emily lived among them her entire life. She died in 1848, at theage of thirty.2.2 The social background of writingThe thirty years of Emily Brontë’s whole life was the very turbulent times in English history, when capitalism developed on and on, and its internal disadvantage was revealed more and more. The conflicts between employers and employees became intense; unemployed workers were poorer and poorer; a great many of child labors were tortured to death. The famous English poetess Elizabeth Barrett Browning expressed her objection to employing child labors in her poem The Cry of the Children. Besides the British government suppressed democratic reform movement and labor movement cruelly, such as Peterloo Massacre, which was reflected in literature works in that time.Emily Brontë’s family located between town and wasteland, which was near an industrial estate. Emily, with her sister, often took a walk there. On the one hand, Brontë sisters were impressed by the wild and free atmosphere of wasteland; on the other hand, they witnessed the development of capitalism in the town. Furthermore their father was a radical member of Conservative Party, who was against Luddite at his early age, and then stood by Whowose worker for their strike. So Brontë sisters grew up under the nurture of politics, especially Emily, who was incommunicative on the surface but enthusiastic in internal and paid close attention to politics, which done preparation for the writing of Wuthering Heights.2.3 Different comments on Wuthering HeightsWuthering Heights, which has long been one of the most popular and highly regarded novels in English literature, seemed to hold little promise when it was published in 1847, selling very poorly and receiving only a few mixed reviews. Victorian readers found the book shocking and inappropriate in its depiction of passionate, ungoverned love and cruelty (despite the fact that the novel portrays no sex or bloodshed), and the work was virtually ignored. Even Emily Brontë’s sister Charlotte—an author whose works contained similar motifs of Gothic love and desolate landscapes—remained ambivalent toward the unapologetic intensity of her sister’s novel. In a preface to the book, which she wrote shortly after Emily Brontë’s death, Charlotte Brontë stated, “Whether it is right or advisable to create beings likeHeathcliff, I do not know. I scarcely think it is.” [1]1Today, Wuthering Heights has a secure position in the canon of world literature, and Emily Brontë is revered as one of the finest writers—male or female—of the nineteenth century. Like Charlotte Brontë’s Jane Eyre, Wuthering Heights is based partly on the Gothic tradition of the late eighteenth century, a style of literature that featured supernatural encounters, crumbling ruins, moonless nights, and grotesque imagery, seeking to create effects of mystery and fear. But Wuthering Heights transcends its genre in its sophisticated observation and artistic subtlety. The novel has been studied, analyzed, dissected, and discussed from every imaginable critical perspective, yet it remains unexhausted. And while the novel’s symbolism, themes, structure, and language may all spark fertile exploration, the bulk of its popularity may rest on its unforgettable characters. As a shattering presentation of the doomed love affair between the fiercely passionate Catherine and Heathcliff, it remains one of the most haunting love stories in all of literature.The English poet and critic, Matthew Arnold, says: “Her (Emily) extraordinary passion, feverish feelings, gloominess and boldness are incomparable after Byro n.”[2]234 The famous English writer Virginia Woolf said in her book The Common Reader, First Series: Jane Eyre and Wuthering Heights, ”Wuthering Heights is a more difficult book to understand than Jane Eyre, because Emily was a greater poet than Charlotte. When Charlotte wrote she said with eloquence and splendor and passion ‘I love’, ‘I hate’, ‘I suffer’. Her experience, though more intense, is on a level with our own. But there is no ‘I’in Wuthering Heights.There are no governesses. There are no employers. There is love, but it is not the love of men and women. Emily was inspired by some more general conception. The impulse which urged her to create was not her own suffering or her own injuries. She looked out upon a world cleft into gigantic disorder and felt within her the power to unite it in a book. That gigantic ambition is to be felt throughout the novel—a struggle, half thwarted but of superb conviction, to say something th rough the mouths of her characters which is not merely ‘I love’ or ‘I hate’, but ‘we, the whole human race’ and ‘you, the eternal powers…’the sentence remains unfinished. ” [3]34The English critic Arnold Kettle concluded in the book An introduction to the English novel, “Wuthering Heights is an expression in the imaginative terms of art of the stresses and tensions and conflicts, personal and spiritual, of nineteenth-century capitalist society.” [2]2683．Symbolism and imagery in Wuthering HeightsEmily Bronte uses both symbolism and imagery in her novel. The two houses, Wuthering Heights and Thrushcross Grange, are highly symbolic. The Heights represents a “storm,” whereas the Grange stands for “calm.” Lockwood explains the meaning of “wuthering” as “descriptive of the atmospheric tumult to which its statio n is exposed in stormy weather.”Brontë takes pains to stress the house's ordinary, unfinished, and provincial nature. But its chief characteristic is exposure to the power of the wind, which makes it appear fortress-like. It is an appropriate house for the Earnshaw family: they are the fiery, untamed children of the storm, especiallyHeathcliff, the foundling. On the other hand, Thrushcross Grange is set in a civilized valley and stands in a sheltered park. Here, the effects of weather are always gentler, filtered, and diluted. The Grange is a house of soft, clinging luxury, and its inhabitants are guarded b y servants and bulldogs. It is “a splendid pla ce,”rich, carpeted and cushioned with crimson. In contrast to the Heights, it belongs to “civilization,” which values comfort more than life itself. Thus, it is a natural home for the children of calm: the gentle, passive and timid Lintons.Animal imagery is used by Emily Brontë to project her insights into human character. Catherine describes Heathcliff as a wolfish man. Isabella Linton, after she bec omes his wife, compares him to “a tiger, or a venomous serpent.” Nelly Dean sees his despair after Catherine's death as not like that of a man, but of a savage beast. Heathcliff himself, when he wishes to insult his enemies, compares them to animals. However, these are not wild creatures he respects for their strength, but gentler animals that he despises. Ed gar Linton is “a lamb” that “threatens like a bull.” Linton, Heathcliff's son, is a “pull ing chicken.” Heathcliff hates Hindley Earnshaw because he sees him as the author of all his misfortunes. When he dies before the arrival of the doctor, Heathcliff bru tally says that “the beast has changed into carrion.”Symbolism is implicit also in various events of the novel. For example, on the fateful night of Heathcliff's departure fro m the Heights, the storm comes “rattling over the Heights in full fury.”It symbolizes the storm that eventually destroys the lives of Cathy and Heathcliff. Then again, after three years, on Heathcliff's return, he and Cathy meet by the light of fire and candlelight, symbolizing the warmth of their affection for one another. In these ways, and many others, images and symbols in Wuthering Heights add meaning to characters, theme, tone, and mood.4. Nature images in Wuthering Heights4.1 The main image of moorsAs Emily Brontë lays emphasis on landscape throughout Wuthering Heights using repetition, the uncultivated and wild Yorkshire moors become of a symbolic importance, representing the disorderly behaviour at Wuthering Heights. The mystery of the moors (meeting places, lurking corners) cannot be separated from mysteries of the characters. Brontë portrays both the harshness and the beauty of the Yorkshire moors, using it, not only as a background, but also as a central image of the passions and longings of the characters. The Yorkshire moors are where Catherine and Heathcliff played as children, and are often described throughout the novel as being isolated, haunting and primitive. It is a symbol of Catherine and Heathcliff’s wilderness and a representation of their love for one another. The moors are symbolic as a place of freedom and escape where Catherine and Heathcliff could get away from the barriers and social expectations of society which divided them. [4]564.2 The images of seasons and weatherThe seasons are used in the novel as symbols to create mood and suggest the passing of time. The novel opens in winter with snowstorm, symbolic of the atmosphere at Wuthering Heights and associated with grief and tragedy. The novel ends with the flowering of spring, mirroring the passions that fuel the drama and the peace that follows its resolution. Moreover, Catherine compares her love for Linton to the seasons “foliage in the woods”and her lo ve for Heathcliff to the rocks “My love for Heathcliff resembles the eternal rocks…” [2]132Therefore, it is not just love that Catherine and Heathcliff seek but a higher, spiritual existence which is permanent and unchanging.The theme of Wuthering Heights, by Emily Brontë, is a universe of opposing of forces-storm and calm. On the storm side, the land of storm was also known as Wuthering Heights. The house that is set up high on the windy moors and is highlycharged with emotion of hatred, cruelty, violence, and savage love. In comparison, on the calm side, the land of calm was also known as Thrushcross Grange. Unlike Wuthering Heights, Thrushcross Grange is set up in the peaceful valley and is much less full of hatred. Nevertheless, instead of focusing directly on storm and calm, the antithesis of storm and calm and branches is used into more specific comparisons. Three main antitheses are developed in Brontë’s novel originating from storm and calm and those are: the antithesis between man and nature, the antithesis of good and evil, and the antithesis between life and death. However, instead of using the correct, original antitheses in her novel, Emily Brontë does away with all three of the original antitheses.The first antithesis Emily Brontë does away with is the antithesis between man and nature. Emily Brontë does not animate man revealed against inanimate nature. According to Cecil, “Men and nature to her are equally living in the same way. To her an angry man and an angry sky are not just metaphorically alike, they are actually alike in kind; different manifestation s of a single spiritual reality”[5]81. Emily Brontë does not see nature as just being a setting her novel, each piece of nature is associated is a reflection of a character in the novel. Some characters share the same nature which gives them their like qualities. In the novel, Young Cathy and Linton Heathcliff describe what their most perfect idea of heaven’s happiness is. Cathy says his would be only half alive, and he said Cathy’s would be drunk. Their choices represent no chance preference, but the fundamental bias of their different natures. Each is expressing his or her instinctively felt kinship with that aspect of nature of which he or she is the human counterpart. By combining man and nature together, Brontë does away with the original antithesis.The second antithesis Emily Brontë does away with is the antithesis of good and evil. Typically, there is a fine line between good and evil, but what Brontë does is move away from that and almost combines the two. For example, Young Cathy at first does not like Hareton Earnshaw, but as novel progresses, she begins to change her mind and eventually ends up getting married with hi m. Cecil states, “To call some aspects of life good and some evil is to accept some experiences and to reject others. Her characters set no bridle on their destructive passions; nor do they repent of their destructive deeds” [5]82. With this example of Young Cathy, Brontë does away with the original antithesis of good and evil.The third antithesis Emily Brontë does away with is the antithesis between lifeand death. Cecil explains, “The spiritual principle of which the soul is a manifestation is active in this life; therefore, the disembodied soul continues to be active in this life”[5]83. Emily Brontë believes in the immortality of the soul. Cecil states that the characters my regret dying, but it is only because death means a temporary separation from those with whom they feel an affinity. In the novel, this is clearly seen with Catherine and her ghost. At one point, Catherine Earnshaw dreams that she goes to heaven, but is miserable there because she is homesick for Wuthering Heights; the native country of her spirit, but when in fact she does die, her spirit does take up its abode at Wuthering Heights. The belief in the continuation of the soul shows that Brontë moves away from the original antithesis between life and death.T he influential theory of storm and calm are key concepts in the author’s thought and works. All three antitheses mentioned, derived from the original theme of storm and calm. Emily Brontë however, used these antitheses in a different way, and moved away from them. By combining man and nature, good and evil, and life and death, Brontë has not only written a tragic love story but a work of literature full of layered themes.4.3 The images of fire and flameThroughout Victorian literature there is a constant theme of fire and flame imagery representing an innate passionate, masculine force. The passion of Wuthering Heights is personified throughout the novel by the fires that are within the manor. All life and activity in the house takes place next to an immense fire. This contrasts the fires of Thrushcross Grange which are almost non-existent. Passion is the driving force that motivates all the “children of the storm” and so this is significant in that the fire is the only source of light in the hous e. Catherine's passion is contrasted to the coolness of Linton, whose “cold blood cannot be worked into a fever” [6]83.However, Catherine's devotion to Heathcliff is immediate and absolute “Whatever our souls are made of, his and mine are the same, and Linton's is as different as a moonbeam from lightning or frost from fire”.As it was already pointed out, the novel presents the collision between two types of reality, restrictive civilization and anonymous unrestrained natural energies or forces. This collision takes the form of inside or domestic versus outside or nature, human versus the “other”, the light versus the dark with in the soul. Catherine andHeathcliff are violent elementals who express the flux of nature; they struggle to be human and assume human character in their passion, confusions, and torment, but their inhuman appetites and energy can only bring chaos and self-destruction.4.4 The images of moths, heath and hare-bellsAs Emily wrote at the end of the last chapter, “I lingered round them, under that benign sky: watched the moths fluttering among the heath and hare-bells; listened to the soft wind breathing through the grass; and wondered how anyone could ever imagine unquiet slumbers for the sleepers in that quiet earth.”It represents a softened, less harsh environment and new hope for the future. There the heath and hare-bells symbolizes the ideal world the author expects, where there is no conflict and oppression between classes, just peaceful and freedom, and human nature is closer to the natural. The moths fluttering among the heath and hare-bells symbolizes the free souls of Heathcliff and Catherine, who was tortured in the real world .Like the Chinese ancient legend Butterfly Love, Wuthering Heights,is a complex literary works, where author remonstrates about the unfair world but she found there was nothing she can do to change it. So she made an unreal world to console her console soul. It is considered as the one of the best conclusions of literary works, and is thought-provoking conclusion for readers to study.5. Non-natural images in Wuthering Heights5.1 Wuthering Heights and Thrushcross GrangeBoth the natural and social settings between Wuthering Heights and Thrushcross Grange form striking ugliness-beauty contrasts in the novel. Wuthering Heights, the house of the moors, and Thrushcross Grange, the house of the valley, present completely opposing worlds and values as they do in their inhabitants: the energetic native civilization and the repressive Christian civilization. The contrast of these two houses adds much to the meaning of this novel, and without it, the story would be less interesting and complex.Wuthering Heights appears in the novel to be wild, disrupted and hostile. It symbolizes human emotions, love, hate, jealousy, and pride. “Wuthering” i s a Yorkshire term for roaring of the wind, thus Wuthering Heights represents nature and the storm. The protagonists Catherine and Heathcliff are driven by irresistible passion-lust, curiosity, ambition, intellectual pride, and envy and are full of wildness just like Wuthering Heights. Natural images that Bronte uses emphasize their bond which is deeply rooted in the free and passionate realms of the natural wilderness.[6]46On the other hand, Thrushcross Grange appears to be calm, refined and welcoming. It represents the calm and civilization and together with the Linton family symbolizes culture, sophistication, tradition and development. Thrushcross Grange is an estate closer to the town and nicer than that of Wuthering Heights. ThrushcrossGrange is in the valley, sheltered from the violent winds and storms that Wuthering Heights tolerated. In a deeper sense, the walls of Thrushcross Grange symbolically protect the Lintons and Catherine from the dangerous influences of Heathcliff and Wuthering Heights i tself. It is also described as “buried in trees”, the plants flourishing in the more welcome environment, just as the characters are more able to grow beyond the initial difficulties which impeded their neighbors.[7]15.2 Images of Book and windLooking at all the times books appear in the novel, it is clearly associated with Thrushcross Grange. There is an entire library of books at the Grange. While Catherine is sick, Edgar Linton is reading his book. He is in a fit of passion while he resigns to his circle of rational and sophisticated thoughts by reading his books. Thus, books are a symbol in that they represent the culture and sophistication of the Lintons. They are certainly more genteel and possess more reasoning than the Earnshaws and the books represent this. [8]1Wind represents the very opposite of what the books do. Wind is associated with Wuthering Heights, and therefore with the Earnsh aw s. Wind represents the uncontrollable passion that the Earnshaws possess and the opposite of the sophisticated withdrawn Lintons. It is raw and natural. Catherine and Heathcliff are the wind because they possess these qualities. Even when Catherine goes to Thrushcross Grange and marries Edgar she cannot deny who she really is on the inside. When she becomes sick a fter Heathcliff and Edgar have “broken”her heart, she tells Nelly Dean to open the window so that she may feel the wind.5.3The image of windowsIn Wuthering Heights, the interpretation of window imagery causes sudden and quite innovative realization of how Brontë wanted the reader to interpret her words. Windows are transparent, providing a person only with the means by which to see the outside. Windows, like dreams, can cause bitterness simply by making one yearn for what one cannot have. Baring in mind what the cryptic symbol represents, must look upon the elder Catherine in a new light. Nearing the beginning of the story, the elder Catherine and Heathcliff come upon Thrushcross Grange, and wanting to explore this new presence, they “crept through a broken hedge… and planted(themselves)… under the drawing-room window… and (they) saw—ah! It was beautiful—a splendid place carpeted with crimson… Edgar and his sister had it entirely to themselves; shouldn’t they have been happy? (Catherine and Heathcliff) should have thought (themselves) in heaven!”[1]38. Upon spying the two siblings crying and screaming over minor and insignificant possessions, Catherine and Heathcliff thought that this life style would be a heaven on earth. For Catherine, this vision through the window left her desiring more, instilling a bitterness and sense of inadequacy. Yet even as Catherine comes close to mimicking the scene in the window, her efforts are in vain, for such an existence for her is nothing more than a lie, a dream in which Catherine would be playing as an actor. This can be confirmed by comparing what Catherine sees through a window as a child to what she sees through the window as an adult. In her delirious state prior to death, she fancies that she would be herself again among the heather on the hills. But at this point in the story, the peace of nature and the stability of Heatcliff elude her, and because she is truly delirious, her true dream so to speak is revealed. She bids Nelly to open the window again wide, but Nelly is afraid of Cathy dying a death due to cold. Catherine rebukes her by cl aiming that Nelly “won’t give (Catherine) a chance at life” [1]98. But this dream, of running free and wild through the moors, is just that, but a dream. Catherine is no longer a child in age, but in maturity she has stopped growing as soon as Heathcliff left. Because of the window symbolism, it becomes clear that Catherine is just acting as a Linton, and that she can never be more than a child in terms of understanding and responsibility. Because of her duplicity she is delirious, losing all sense of true self. This insanity is further established by Edgar telling Ellen to shut the window, when he learns that Catherine is ill. By shutting the window, Catherine’s mind returns as she delivers a condescending and hurtful speech to Linton, but “By a spring from the window… her soul will be on the hilltop” [1]100 . This means that Catherine’s innate childish, free, and wild like traits, all of the defining innate personality traits that make up the true Cathy, are forever lost in a false dream, a lie. The true Cathy is only attainable by death, by jumping through the window.Through the image of windows, the true Cathy is described vividly that differs greatly and significantly from a Catherine Linton. A personal growth and change is learnt in perception that Cathy undergoes as she goes from Cathy to Catherine and back to Cathy, this last change being too late to help herself. Windows show what one yearn for, but are unable to reach. They are cruel and deceptive in that theytempt people, but also insightful and resourceful in evaluating one’s desires, personal growth, and oneself. [9]125.4 The image of ghostsThe religious images in the book symbolize suppression of feelings because it is all about repenting sins and preparing for death rather than living life to its fullest. The religion used in the book represents the kind of life Catherine and Heathcliff trying to rebel against. [10]44Ghosts, which is the main religious image in the novel, are apparent throughout Wuthering Heights and Emily Bronte emphasizes this by making the reader unsure of whether they really exist or not.At chapter3, Mr. Lockwood met the ghost of little Catherine, and he stated, “My fingers closed on the fingers of a little, ice-cold hand! The intense horror of nightmare came over me: I tried to draw back my arm, but the hand clung to it.” [1]20 The theme of the afterlife is repeated all throughout the novel, and is especially reiterated by the fact that Heathcliff had lost Catherine due to consumption. The idea that she could be a ghost is magnified by the fact that Heathcliff had actually seen the ghost himself at the window, and it was Catherine. So author described such a plot that Heathcliff called for the ghost of Catherine insanely. “‘Come in! Come in!’ He (Heathcliff) sobbed. ‘Cathy, do come. Oh do once more! Oh! My heart’s darling! Hear me this time, Catherine, at last!’” [1]22Ghosts there are also used in order to explain a character’s personality, and they are used to create suspense in the novel. Brontë uses the presence of ghosts to try and give the reader a greater understanding of Nelly’s character. We are told that she is superstitious, but it is not until she feels the presence of something she thinks of as Hindley that the reader fully understands the extent of her fears and beliefs. [11]1“It appeared that I beheld my early playmate seated on the withered turf: his dark square head bent forward, and his little hand scooping out the earth with a piece of slate…It vanished in a twinkling; but immediately I felt an irresistible yearning to be at the heights.” [1]92Nelly is very shaken by the whole experience, and the fact that her superstition took hold of her, and urged her to the Heights shows that she is very compassionate of her friendship with Hindley as this spot that she saw him in was “a favorite spot。
国内艾米莉·勃朗特诗歌研究综述
国内艾米莉·勃朗特诗歌研究综述作者：李晓乒来源：《文教资料》2014年第21期摘要：艾米莉·勃朗特的诗歌具有独特的审美价值，本文综合国内发表的论文和出版的专著、文学史上对其的评价，对艾米莉·勃朗特的诗歌研究进行综合论述。
关键词：艾米莉·勃朗特诗歌研究综述提到艾米莉·勃朗特，我们在谈论什么？进入脑海的当然是狂风骤雨般的《呼啸山庄》。
我们总是忘记艾米莉·勃朗特首先是一位诗人，接着才是小说家。
可是，无论国外还是国内，人们总是厚此薄彼地让《呼啸山庄》的光芒掩盖了艾米莉诗歌的不朽魅力。
在世间匆匆停留三十载的艾米莉·勃朗特留下的193首诗歌，分为两个部分，一是表达诗人内心世界的自我诗歌；二是史诗《贡达尔王国》。
一、对艾米莉·勃朗特诗歌的译介国内对艾米莉诗歌的研究起步较晚，1996年以前只有零星十几首诗歌被译成中文：杨苡翻译了“我独自坐着”、“夜晚在我周围暗下来”等；飞白翻译了“希望”、“歌”等。
在中国，艾米莉诗歌没有得到系统的翻译，不同译本也很少。
目前只有1996年河北教育出版社出版宋兆霖主编的《勃朗特两姐妹全集》（全10卷）（其中第8卷有刘新民翻译的《艾米莉·勃朗特诗全编》）和2005年中国作家出版社出版的覃志峰的《艾米莉·简·勃朗特诗歌全集》。
上世纪80年代中后期才对其诗歌有所提及。
进入2l世纪，其诗歌逐渐受到国内学者青睐。
但国内大多研究还拘泥国外早期研究的步伐。
在《艾米莉·勃朗特诗歌全编·译序》中，刘新民为艾米莉的诗歌披上浪漫主义的外衣，他指出诗歌除了浪漫主义所特有的崇尚自然、追求自由和个性解放的特点外，还有独特个性：两极对立的意象体系、情境统一的象征结构、神秘奇异的内心体验、严谨克制的写作态度。
专门的研究著作中，涉及艾米莉诗歌的只有2010年高万隆等所著的《艾米莉·勃朗特研究》。
论埃米莉·勃朗特诗歌意象群体
论埃米莉·勃朗特诗歌意象群体作者：覃志峰来源：《文学教育·中旬版》2017年第03期内容摘要：埃米莉不仅写《呼啸山庄》，还写近200首诗歌。
埃米莉人生坎坷，性格复杂多变，在意象使用上，倾向于多元化和集群化。
她诗歌意象群大致可分为：花草树木植物类、天空阳光星月天象类、春夏秋冬四季类、阴晴云雾风雨雷电天气类、江河湖海山川地理类、荒漠沼地阡陌田林类、天堂牢狱灵魂肉体类、阴暗灰蒙冷色类等八大类。
关键词：埃米莉·勃朗特诗歌意象诗歌意象的运用有赖于诗人的个性、情趣、生活经历和世界观。
诗人在诗歌创作中都有意无意地使用相对稳定的意象。
因此说，每个诗人都有自己独具个性的意象。
埃米莉是个苦难的诗人，她为苦难而写诗。
她的诗是关于苦难的诗，是探寻自由的诗。
她的诗没有奇异的形象、夸张的手法和华丽的辞藻，一切平淡自然，平淡中蕴藏着真实的人生和情感，反映她的追求和审美情趣。
埃米莉的性格复杂多变而又奇特，人生多有不幸，遭际坎坷，因此她在意象的使用上，不可能只局限于少数几个，而是倾向于多元化和集群化。
埃米莉诗歌意象群大致可分为以下八大类。
一.花草树木植物类埃米莉一生大多生活在偏僻的山村，生活阅历有限，且性格箴默，不善交际，和她亲近的除了长兄和姐妹以外，就是那片灰蒙蒙的霍沃思荒原。
埃米莉热爱这片土地，荒原上的山川河流、花草树木、风雨雷电等对她来说是再熟悉不过的了。
其中花草树木大多成为她诗歌中的物象，并被赋予其特定的思想感情。
埃米莉诗歌中的花草树木类植物类意象包括各种鲜花、蓓蕾、花茎、花蕊、树木、树干、树枝、树冠、树荫、绿叶、落叶、草地、青草、杂草、青藤、苔藓等。
这类意象在埃米莉诗歌中出现大约有97次之多。
其中花草类大多被赋予积极向上的含义，而树木类（特别是紫杉树、榆树、石楠）多数被蒙上一层阴暗神秘暴烈的色彩。
二.天空阳光星月天象类自然天象也是埃米莉诗歌中出现较多的物象，其中包括天空、太阳、阳光、地球、星星、月亮、月光等。
艾米莉·勃朗特小说中的意象意蕴
艾米莉勃朗特小说中的意象意蕴
高永红
【期刊名称】《世界文学评论》
【年(卷),期】2008(000)002
【摘要】艾米莉·勃朗特在《呼啸山庄》中以其诗性的笔触，创造出了众多丰富而深刻的意象。
放旷不羁的意象与受难监禁的意象并列纷呈，揭示了人性的冲突，表达出了她想表达的关于人类悲痛与渴望的强烈主题。
丰富而深邃的意象意蕴使小说充满着野性而感人肺腑的美，极大地增添了小说的艺术感染力，使《呼啸山庄》在世界文坛闪烁着恒久的艺术魅力。
【总页数】4页(P52-55)
【作者】高永红
【作者单位】山东财政学院外国语学院
【正文语种】中文
【中图分类】I561.074
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论艾米莉·勃朗特诗歌意象的多重象征作者：贺夏蓉来源：《文学教育·中旬版》2009年第07期诗歌的构思是以意象为基本单位的。
现实生活只有经过意象的桥梁，才能转化为诗的形象。
“意象是诗人的主观情感意念与自然社会的客观物象相互交融和渗透所产生的新的生命体．是诗歌艺术中情景相台而形成的一种最活跃的基本艺术元素．是包含着诗人心理时间和空间的一种富有表现力的空筐结构。
”因此，意象是渗透着诗人主观感受的客观物象。
大千世界的无数景物被诗人融入自己的审美情趣和感情色彩后，就成为诗歌的意象。
艾米莉·勃朗特诗歌中的意象种类丰美纷披．她以粗犷的笔调营造了荒野、风暴等极富多重象征性的意象，用更精细、伤感的笔触展现了一个极富艺术张力的意象世界。
“象征性意象是诗人通过物象和心意在象征物中若即若离的吻合来暗示诗意。
”这种意象在艾米莉诗歌创作中使用得最为广泛，占有最重要的地位。
町以说，作为贡达尔故事背景的大自然、荒原、石楠、风暴和土牢是贯穿其诗歌始终的象征性意象。
诗人笔下的大自然很少风和口丽、明媚宜人．而太多严酷冷峻阴郁，充满风暴阴云、冻雾冷雨，并显得肃杀孤寂荒凉．处处显嚣着不祥和、神秘的色彩。
诗中的大自然背景是一片漫无边际的、充满了恐怖和神秘的荒原，杂草树木丛生．还有旷野的暴风雨和大风：高处的石楠在狂风中飘摇，夜半的溶溶月色闪闪群星下，黑暗和光明欢聚在一道．若九天下坠而大地崛起云霄，将人的灵魂释放出阴郁的地牢，碎了重重镣铐，折了层层铁栅。
又如；“狂风给山下的野林注入生命，，激起阵阵林涛震天动地”、“周围的夜色越来越沉，，狂风冰冷呼啸不已”。
艾米莉善于运用象征的自然背景来表达《贡达尔史诗》中不同的人物命运。
正如弗吉妮亚·伍尔芙说：“艾米莉借用大自然之力．她感到需要言语或行动所难以传达的更为强有力的象征，来表达人性中那些巨大的沉睡的激情”，“她笔下的风景、她笔下的荒原、她笔下快人的夏日绿野都不是用来点缀一页沉闷乏味的文字或卖弄诗人观察斩装饰品一它们饱含着情绪，显示了作品的主旨。
”一、荒原意象的多重象征艾米莉生活在英国一个偏僻而闭塞的哈沃斯草原，它隐藏在连绵不断、石楠丛生的荒原丘陵深处，这里是一望无际的荒原沼泽和旷野山峦。
她的作品“从头到尾是乡土气息的。
它带着荒原色彩．野性，像石楠的根一样虬结多节……她对自然的描写，就是自然景色的本来面目，不折不扣的本来面目。
”“荒原的重要意义用冷冰冰的逻辑语言是不能表现出来的。
”因为“艾米莉·勃朗特不是通过概念而是通过象征来进行创作的”。
性格内向、孤僻的艾米莉在30年的生活中，除了短期到女校做教师和去布鲁塞尔求学外，基本上居住在家乡。
她逃避社会，不普与人交往。
“她更愿意独自到荒原漫步，淳朴、粗犷的大自然。
象征着人类没有繁文缛节束缚和充满力度的生命本质。
她对荒原有着狂热的迷恋，是约克郡石楠荒原的‘自然之女’。
”艾米莉在荒原上寄托了自己的理想．荒原具有多重的象征意义。
第一．荒原象征自由的无柬。
一切优秀的文学作品都是作者内在人格的自觉或不自觉的流露，荒原对于她来说充满了无法遏制的活力与不可羁绊的疯狂：头顶是层层叠叠的乌云，脚下是无边的荒原，但一切阴郁无法撼动我半分：我不能，也决不离去。
在家乡广袤的荒原，那里没有对人的尊严的践踏、没有金钱的魔爪、没有社会习俗的阴影，人们可以呼吸到自然、清新的空气，可以过自由、野性和快乐的生话。
她酷爱这个广袤的荒原，荒原对她来说就是人间的乐土，快乐的源泉，灵魂的归宿。
正如她姐姐夏洛蒂所说，“我妹妹艾米莉爱荒原，在她眼中，最幽暗的石楠丛会开放出比玫瑰还要娇艳的花：在她心里．铅灰色的一处黑沉沉的溪谷会变成人间乐园。
”艾米莉挚爱、迷恋荒原，是迷恋和向往荒原的那种无拘无柬与自由自在。
“她在荒减寂宴的处所找到了许多开怀的乐趣，’而她胜过一切．最晟热爱的是——自由。
自由是艾米莉鼻息：没有自由，她就毁灭”．“当她从她自己那寂静无声、与世隔绝，然而无拘无束、自由自在的生活方式，换到一种纪律严格、循规蹈矩的生活方式，是她无法忍受的……”，是呀，她怎么能不热爱约克郡的荒原呢?那儿有她所珍爱的自由啊!在那儿，她可以独来独往．无拘无柬：我有一事向神祈求：把我胸膛里的心，砸碎吧，用火烧吧，但请赐我目由。
这是她诗人痛苦心迹的真切流露，是她深感生活重压而不自由时灵魂的呻吟和呐喊。
在她与姐姐外出求学和做家庭教师的时间里，经历了受人役使、压迫和偏见的种种磨难，她强烈地感受到了心灵自由的丧失．甚至感觉到整个秩序化的社会都是充满压迫与偏见的束缚她心灵自由的。
敌人”，这一切几乎已成为她的精神牢狱和枷锁．在她幻想的贡达尔王国里，她要“砸碎痛苦的锁链，使他的臣民重获自由解放”。
艾米莉曾在1841年3月的一首诗中写道：我若祈祷，那惟一启动我双唇的祷文只有：“请别扰乱我的心，给我自由。
” 是的，短暂的生命已近终点，这是我惟一的祈求一无论生死，但求心灵无拘，又有勇气承受! 为了摆脱生存的困境，保持人性的尊严，获得心灵的自由，人们面临着严峻的挑战，经受着残酷的考验．面对着艰难的抉择。
艾米莉愤世娠俗，亦然酷爱自由。
第二．荒原象征爱情的狂野。
艾米莉在她的诗歌里向我们描绘了荒原的最主要特征：天空、小溪、石楠，这种荒原的野性和活力吸引着男女主人公。
在那儿，他们的灵魂在荒野相聚并进入永恒．在那儿．生命之火永不熄灭，爱的应和永休无止，到处充满了欢乐。
无边无际的荒原有着无羁无绊的强烈情感以及那能将生命吞噬的爱情：如今我己孤单，但难道我的思念不仍高高盘旋在安古拉的群山和海岸；并收翅栖落在石楠和蕨叶丛丛层层把你高尚的心永远覆盖的地点?你在冰冷的地下．而十五个腊月寒冬，已在那褐色的山冈上融成了阳春经过这么多年头的变迁和哀痛，那长相忆的灵魂己够得上忠贞!这首著名的长诗《忆》，写奥古斯塔回忆她的情人朱利叶斯．诗中的意境如同她的小说一样具有荒原色彩，诗中情感宣泄发生的场景是；寒冷阴郁的墓地是冬天的荒原变体，痛失爱人的“我”，思念徘徊的地方是遍地蕨叶，是丛丛石楠，是棕色山冈。
用生命和希望祭奠爱情的“我”选择把至爱埋葬在荒原，因为在艾米莉看来，荒原是最美的墓地．两个相依的灵魂要一起投入到荒原的怀抱，化成一丛石楠为荒原再涂一丝苍凉之色。
这种至情至爱具有震撼人心的力量，“正如《呼啸山庄》里希思克利夫和凯瑟琳的爱刻骨铭心，炽热猛烈强悍，在一定程度上这首诗是《呼啸山庄》的诗歌浓缩版”，由于其哀惋动人、回肠荡气、萦回不散的强烈感情，因而这首诗曾被誉为“英语中最伟大的个人抒情诗之一”。
艾米莉的许多爱情诗因为沾染上了荒原的色彩而具有一种让人窒息的排山倒海的炽热情感和令人心碎的悲情四射的绝望哀缠，诗人将情感的张力拉到最大程度，把恋人间的那种忠贞的感情描写得微妙微肖，并将个中的三味七味全都表现得那么真切细腻，令人不能不叹服她的主观感受体验和想像的出神入化。
毕竟，艾米莉短短的一生，少女的心扉从不曾得到爱情的轻叩呀。
第三，荒原象征死亡的超越。
对于人生、对于社会，艾米莉感到孤独和不满，因此充满了对死的渴念，甚至认为“死亡是永恒和不朽的。
在她的诗歌中暗藏着一个基音，那就是绝望感。
”她在一首诗中叹息：先是青春的希望消融，而后是幻想的彩虹匆匆凋残……一想到人类皆是空虚，媚颜，伪善，就叫人不胜心寒，更糟糕当我依赖自已的心灵却发现那里同样腐败。
这首诗体现了她自身不幸的慨叹以及对社会、对自我的不满和失望。
无论是实际生活中，还是在个人心灵深处，艾米莉都是极端孤独的。
她饱尝了人间的冷漠，忍受着无爱的生活，在上帝那里又找不到慰藉的寄托．她把对于生活、上帝的爱都奉献给了邪一片荒原。
只有在雄浑的荒原中，她才看到了一种不朽的精神力量。
她认为这种不朽是无所不在的，精神是不灭的。
在《呼啸山庄》中．主人公希思克利夫和凯瑟琳的爱情超越了生死舶力量。
在《贡达尔史渤中的男女主人公．他们因爱情而殉情，而他们的精神却在荒原上得到了复苏。
在《我看见四周的灰色墓碑》一诗里表达的或许就是小说《呼啸山庄》中凯瑟琳的思想：我们决不离开家园故土，迁往任何地方，除非是坟墓。
不——宁可在你体贴的胸间。
安顿下一而永久长眠；或者醒来只为与你分享共同的永垂不朽万寿无疆。
小说中的凯瑟琳同艾米莉一样，并不把天堂看作自己的家和归宿。
凯瑟琳哭着、闹着要回到人间来，使那些天使大为生气，因而把她逐出了天堂，把她扔到了呼啸山庄的荒厦上，这却让她高兴得流泪。
艾米莉在诗歌中把死亡看作是回归自然的无拘无束的通途。
在她的情感世界里，爱情是逾越了生死界限的情人间的思念，是蔑视死亡，綮回不散的强烈情怀。
在她眼里，死亡不是爱情和生命的结束而是爱情的升华、生命的重新开始。
红雀在岩石中翻飞，云雀在荒野上空高翔，蜜蜂流连石楠花问不归，花把我美丽的爱人隐藏。
欧吧，西风．吹这寂寞的坟，夏天的溪水呵，水声叮咚，这儿不需要别的声音，安慰我爱人的梦。
在这首题为《歌～“红雀在岩石中翻飞”》的诗中出现的意象有红雀、百灵、蜜蜂，这些自然的精灵们通常应该出现在鲜花灿烂的花园和树林里．但在艾米莉的诗歌中，它们展翅的空间却只有岩石，山谷、荒原和石楠花之间，野鹿、野鸟在荒原生存繁衍。
荒原上的坟墓又成为“爱之所在”，西风吹拂寂寞，夏溪小声町咚。
《我是唯一的人》中的“我”就像灰石边的野鸟。
安身所在和栖息之所只有那片荒原，只有远方的风叹息着吹过。
艾米莉认为死只是意味着与大自然的伟大精灵融为一体，是重归大自然，获得净化，求得永恒。
她在《呼啸山庄》中给主人公希思克利夫和凯瑟琳的命运安排，以及她自己病重时拒绝治疗，拒绝服药，不能不说是这种人生观、生死观的形象体现。
她对死亡的这种辩证和坦然的态度．不由得让我们肃然起敬。
二、风暴意象的多重象征约克郡荒原上那呼啸的风暴给予了艾米莉独特的艺术灵感，她就是来自于自然界的风暴，既严峻，jE情和狂暴又充满活力、渴望自由，她的意志力和想像力就像风暴一样毫不容情和不可抗拒。
在她的诗歌中，风暴具有深刻的多重象征意义。
第一，风暴象征人物内心的冲突。
在史诗中描写朱利叶斯背叛了杰拉尔德，作者以自然界的狂风暴雨来衬托人物内心的巨大悲痛：他的灵魂飞离下面的暴风雨，到达了从无阳光的雪区；那是不变的悲哀的疆域，困绝望一片死寂。
”艾米莉把自己的经历和性格统一起来，如同风暴和闪电般来势汹汹地尽情宣泄。
从自然界的“风暴”到“悲哀鲍疆域”再到“灵魂的绝望”，艾米莉营造的是来自于一个四分五裂的世界，她用她自身的力量，把它拼凑起来，显示出一种激烈的，仿佛暴雨般令人喘不起气的感情。
艾米莉虽然平日沉默寡言，但她的内心是热情奔放的，她总是关心政治，关心生活．根据自己内心的冲动、感受的指使和自己有限经验去观察这个世界。
她引堵了英国社会最残酷的阶级斗争，她以艺术的形式创造了象征灵魂的风暴，制造了让人喘不气来的紧张气氛，夸张地表达了十九世纪资本主义社会中人的精神上的压迫、紧张与矛盾冲突。