Essay - We Are Not, We All Know, Supposed to Judge Books...

We are not, we all know, supposed to judge books by covers.

But it is something entirely different to job a story by *****s form, for the way in which an author chooses to frame a s*****ry is as important to our understanding of it as the content ***** the story itself - something that is becomes clear to us when ***** examine books that tell very ***** stories shaped by very different **********. Emily Bronte's Wu*****ring Heights could not have conveyed either the passion or the essential, existential solitude of the characters had it not been written as an amalgam of first-person narratives wrapped in a Romantic form. Likewise, Theodor Fontane's highly realistic Effi Briest would also have been a ***** different novel ***** it been written - for example - as a ***** work. This paper exam*****es ***** ways in ***** *****m and content affect each other in these two *****s to the extent that they become essentially *****distinguishable from ***** other.

Wuthering Heights is an essential Rom*****tic work, and we can***** understand the skill with which Bronte married form ***** ***** *****in it if we do not ourselves read ***** within ***** broader context of the Romantic *****, a form concerned not solely (and ********** not even particularly) about happily*****ever-after-endings but rather with an exploration of a particularly intense, personal relationship with the world. This kind of intensity ***** best (and arguably only) be told through a first-person n*****rrative, which explains ***** ra*****r unusual choice in structuring the novel as a series ***** first-person n*****rratives rather than using a single first-person n*****rrator or a single ***** narrat***** in combination with an omniscient authorial voice.

***** in 1847, the year before Emily ***** died of tuberculosis, Wuthering Heights *****s of the passionate relationship bet*****en Catherine Earnshaw ***** Heathcliff, a relationship that we learn about through a number of different narratives. Each one of these ***** convinces us that the two are psychological matches for each ***** - both equally wild and free souls. But Catherine marries the gentler Edgar Linton, thereby prompting the thirst ***** revenge in *****, who is not sated even by Catherine's death. It is only in the next generation ***** all of the families involved can find a sense ***** peace.

Although it is perhaps better now known as a poetic style, **********m was of course at its height also an ***** framework for the novel as **********. Romanticism developed in the 19th century both in relationship to previous artistic styles and as a result of the politic*****l and historical forces that were reshaping the world during this ***** and thus must be seen as a style ***** ***** in some senses purely aesthetic ***** ***** most others ***** political.

Romanticism as a style was linked to a l*****rger social movement that tried to upset the orderly conventions laid down by the Enlightenment in which every***** had a pl*****ce ***** society ***** *****y were supposed to know ***** be happy with. It was also