Serving the Storyline of the Novel: The Powerful Role of the Feudal Servant-Narrator
This thesis addresses issues of class as represented through the narrative agency exercised by the servant-narrator in Castle Rackrent and Wuthering Heights. Thady Quirk and Ellen Dean are servant-narrators who strategically use feigned allegiance, astute perception, and selective disclosure to wield power over the lives of their masters. These “arts of subordination” allow the servant-narrator to tell his or her own life narrative, while appearing to share the masters’ memoirs. While both servant-narrators are motivated by economic means, Ellen Dean’s involvement throughout Wuthering Heights is further complicated by her desires of emotional connection. However, each servant-narrator achieves his or her goals by manipulating the events and relationships that constitute his or her masters’ lives.
The Unreliable Narrator in Wuthering Heights
T HE POINT OF VIEW in Wuthering Heights results from a combination of two speakers who outline the events of the plot within the framework of a story within a story. The frame story is that of Lockwood, who informs us of his meeting with the strange and mysterious "family" living in almost total isolation in the stony uncultivated land of northern England. The inner story is that of Nelly Dean, who transmits to Lockwood the history of the two families during the last two generations. Nelly Dean examines the events retrospectively and attempts to report them as an objective eyewitness to Lockwood. But for various reasons which will be specified later, Nelly lacks the qualities and qualifications necessary for her to be a reliable narrator.' Nelly Dean, the chronicler of the two families, seems to be a minor figure in the plot. She serves as an eyewitness who is familiar with what occurs due to her role as governess in the beginning of the novel and as overseer at its end. Ostensibly, her figure and function are both entirely incidental in relation to the major protagonists, but a more thorough probe into her activities and utterances will disclose that she is entangled in the plot much more deeply than would seem at first glance. Criticism, generally, regards Nelly
The Poet, The Critic, and the Moralist: Horace, Epistles 1.19
I begin by quoting from two valuable recent works on Horace. Professor Brink in his Horace on Poetry (1964) writes: ‘The centre of the short piece lies in lines 21—34. Readers, among them critics and poets, had denied one aspect of the Odes which was surely above criticism—the striking originality of these poems. Horace's defence turns on the question of originality’ (p. 180) and ‘Epistle 19 is unique in that it alone among the literary satires and letters reiterates Horace's claim to be the Latin fidicen’ (p. 182). And Dr. McGann in his Studies in Horace's First Book of Epistles (Collection Latomus 100: 1969): ‘In Ep. 19... as in the literary satires, Horace is a practising poet or at least a very recently practising one, engaged in defending himself against hostile criticism’ (p. 40) and ‘As the only epistle concerned exclusively with literary matters, the nineteenth stands apart’ (p. 82).