【導讀】呼嘯山莊是艾米莉·勃朗特的杰作。本文通過對艾米莉·勃朗。評角度來闡述與探討呼嘯山莊中背景描寫之荒原的喻義?；脑诎桌?amp;#183;勃朗特心中的重要地位。象征著童年的美好回憶。也象征著身體擺脫束縛和精神自由的召喚。

　　

【正文】 il y Bronte?s fe mi ni ne c o nsci o us nes s dis pla yed the c ha rac ter o f H ea th cli ff. “His 8 i ndi vid uali ty fill s the ma r ks o f w il der ness , he is the gunp ow d er, he is s av a ge a nd he i s unc ul ti va ted .”(王海鋁 , 20 04: 78) If the dea th o f C a theri ne w as r e gard ed as b od y e xtric a ti o n, the n s he ha d a c hi ev ed he r l o ngi ng p hysi cal fre ed o m. B ut i t ha d a l o ng w a y to go to ge t the me tal free do m. To aw a ke n i nte ns e fe mi ni ne c o nsci o us nes s a nd to ma ke i t be a cce p te d b y the pe opl e o f tha t p eri od nee d s trive a nd s tr uggl e. “If the feminis t cri ti cis m is a d a ughte r of w o me n39。s mo ve me nt, the n her a no the r p are nts the n a re the a ncie nt p a tria rc hy li te rar y cri tic is m a nd the theor y a c hi ev e me nt .” (El ai ne, 19 85 : 8) E mil y Bronte?s s tyle a nd tho ught s al rea d y bel o nge d to the e arl y Fe mi nis t Cr i ticis m. “It is no t e as y to i de nti fy the ori gi n o f fe mi ni s m… … In E uro pe the fe mi nis t tr adi ti o n c a n be tr ace d b ac k a t lea s t to the fo ur tee n ce ntur y. … … F e mi nis m is mo s tl y fo und i n the E nglis h s pea ki ng c o untri es. T he fir s t c o nspic uo us w o me n w ri ters app ear ed i n the Ei ghte e nth c e ntur y E ngl a nd w he n i nd us tria l re vol utio n i ncre ase d the numb e r o f w ell ed uc a te d mid dle cl ass w o me n a nd gr ea tl y facili ta ted their p ub lica ti o n. Wri te rs for the firs t ti me s hi fted fro m the pa tro na ge o f the co ur t to the ge neral r eadi ng p ub lic , a nd w ri ti ng b eca me lar gel y a co mme r cial ac ti vi ty. T he ni ne te e nth ce ntur y bro ught a bo ut ma j or c ha nge s to fe mi nis t mo ve me nt, w o me n fo r the fi rs t ti me unmi s ta ka bl y cl ai med fo r the na tur al ? Ri ghts o f Wo me n.? In thi s co nte xt w o me n?s lib era ti o n mo ve me nt to o k a de fi ni te s ha pe a nd ma d e maj or pr o gress i n w o me n?s s uffra ge a nd pro per ty ri ghts .”(朱剛 , 2 00 1: 2 28 ) “T his w as als o a gol de n a ge for li terar y w o me n: A us ti n, Br o ntes, Elio t a nd Dic ki ns o n, to na me o nl y a few. Wo me n w er e s till the s ubje c ts o f unfai r tr ea tme nt, b ut there w as a n i ncre asi ngl y l o uder v oic e for so cial j us tic e for w o me n. ” (朱剛 , 2 00 1: 2 29) Al tho ugh i t?s a pi ty tha t E mil y Br o nte ha d use d a her o i ns te ad o f heroi ne to e xpre ss he r r ese nt a nd r ebel , s he had s how e d he r fe mi ni ne co nsc io us ness s ucc ess full y thr o ugh the me tap ho rs o f the mo or. “Fe mi nis t C ri ticis m re q ues ts o ne ki nd o f fe mi ni ne a ngl e o f v iew to c arr y o n b ra nd new und ers ta ndi ng to the li terar y w o r k, a nd c ri tici ze the tw is ted fe mal e fi gur es w hi c h are co nc oc te d b y the ma sc uli ne li tera ture .”(朱立元 , 2 00 5:3 42 ) E mil y Bro nte was a pp eali ng for r e tur ni ng to huma n na tur e . Hea th cli ff w as the mo or, w a s the re pre se nta ti ve o f fr eed o m o f w o me n. N o t o nl y the p hysic al b ut the me tal fre ed o m s he lo o ke d for. S he ye ar ned for the fre ed o m o f eq ual ri ghts a nd huma n r i ghts a nd rele asi ng fo r m co ns tr ai n, p rej udic e a nd di scri mi na ti o n. S he s o ught fo r the me tal free do m to the lev el o f e q uali ty o f the se xe s w i th mutua l und e rs ta ndi ng. S he d es crib ed Hea th cli ff?s l ov e a nd re ve nge a s vio le nt s tor m c o mi ng fr o m the mo or 。 s he al s o te nde d to i nd ica te the fe mi nis t mo v e me nt s w o uld bre a k o ut so o ner or la ter. “Wo me n ha v e neve r cre ase d to 9 fi ght fo r their ri ghts , tho ugh the fe mi ni s t mo ve me nt i n the We s t d id no t ta ke a ny visi ble s hap e til l the ni ne te e nth c e ntur y i n the na me o f w o me n?s l i b e ra tion mo v e me nt. ” (朱剛 , 2 0 0 1 : 2 2 8 ) 10 C o nc lus io n: “?Wut heri ng H eig hts? is unli ke a ny o ther no vel i n the ge nre o f Vi c toria n li te ra ture i n tha t i t s ta nds o utsi de the s oci al c o nve ntio ns o f i ts ti me . Vi c tori a n li tera ture c har ac teris ti call y view ed the i ndi vid ual as a me mb e r o f so cie ty. In ? Wut heri ng Hei ghts ’, E mil y B ro nte for the fir s t ti me por tra yed s oci e ty fro m a c o mp le tel y i ndi vid ual p oi nt o f vi ew.”( Lynd a Ri c h, 19 96: 4 ) He r i ma gi na ti o n is e xtre me l y ric h, for t he e ntire w or k ne arl y i s cr ea te d b y her i ma gi na tio n. H er nov el re fl ec ts o ne ki nd o f i nte nse fe mi ni ne c o nsci o us nes s . S he use d me ta p hor to a nno ta te the mo or w hic h is no t si mp le e nvir o nme nt des crip ti o n b ut o f s ymb oli c si gni fi ca nce . F or o n ha nd, E mil y Br o nte s ymb o li ze d the ple asa nt me mo r y o f c hild ho od w i th the mo o r. Fo r the o ther ha nd, s he s ymb oli zed bo th p hys ic al a nd me tal fre ed o m w i th the mo o r. Ca ther i ne fi nall y go t he r b od y e xtric a ti o n a nd the p hysi cal fr ee do m a fter her d ea th, b ut H e a th cli ff c o ul d no t fi nd hi s me tal fr eed o m e ve n i f he me l te d i n the mo o r. It is no t eas y to o b tai n the tr ul y me tal fr ee do m as ther e?s a l o ng w a y to go to aw a ke n i nte ns e fe mi ni ne c o nscio us nes s a nd to ma ke i t b e a c c e p ted b y the p e o p l e o f tha t p e r i o d . “In the novel Emily Bro nte ha d ma ssi vel y used ma ny ki nds o f r he toric tec hni q ue , li ke me tap ho r