【導(dǎo)讀】《呼嘯山莊》被公認(rèn)為英國(guó)最杰出的小說(shuō)之一。一百多年來(lái)，學(xué)術(shù)界。對(duì)《呼嘯山莊》從不同角度進(jìn)行過(guò)研究。本文從生態(tài)批評(píng)的角度來(lái)解讀《呼嘯山莊》中。統(tǒng)一的天人合一狀態(tài)。生態(tài)批評(píng)自誕生以來(lái)因其強(qiáng)烈的現(xiàn)實(shí)性而大受追捧。然融入自然，人與自然和諧相處，人與人和諧相處的生態(tài)哲思。之外，精神生態(tài)理論認(rèn)為人的心靈健康是生態(tài)平衡的重要因素。良好的精神家園，必然會(huì)造成大自然的生態(tài)平衡。文明，建設(shè)和諧社會(huì)具有一定的啟蒙作用。

　　

【正文】 onnection with the earth through her dream. She confesses to Nelly, “heaven did not seem to be my home。 and I broke my heart with weeping to e back to earth。 and the angels were so angry that they flung me out, into the middle of the earth on the top of Wuthering Heights。 where I woke sobbing for joy” (Emily Bronte 72). Catherine’s Betrayal of Her Identification Heathcliff and Catherine may wonder freely in the moors. And they may defy the religion by refusing to go to church on Sunday and kicking away religious books, yet they cannot escape from their punishment and has to suffer in the cold black kitchen with an empty stomach. Catherine realizes the cruelty facing her and Heathcliff. The five weeks at the Grange makes Catherine feel deeply the contrast between two different classes. She is attracted by the forts and privilege of the upper classes in society, so she wants to form a new self, who is social and privileged in society. To obtain the worldly privilege 12 represented by the Grange, Catherine selfishly chooses to marry Edgar in spite of her loveHeathcliff. Her decision to marry Edgar because the brutish Heathcliff is socially beneath her is what precipitates the tragedy of the novel, a fact she acknowledges in the powerful scene of her reunion with Heathcliff. (Gilbert 117118). The loss of Catherine’s original self is indicated by her voluntary confinement at the Grange. She is physically and emotionally alienated from nature. After marriage, Catherine remains mostly indoors and away from the wild nature outside. The indoor scene contrasts sharply with the picture of Heathcliff and Catherine rambling together in the moors. With Heathcliff’s departure, Catherine feels the pain at the loss of her original self. However, her marriage to Edgar is irretrievable。 she can do nothing but pine away. Heathcliff’s reappearance and visits reignite the sparks of her vitality. However, they no longer resume their intimacy as before. Edgar now stands between them legally as Catherine’s husband and their meetings have to be approved by Edgar. To revenge their alienation, Heathcliff proposes to Isabella to inflict pain on the usurper of his love. Consequently, their meetings are disallowed by Edgar. Catherine falls into a fatal delirium because her hope to own the two men is extinguished. Catherine falls into an abyss of pain because she is divided into two parts, a social self and her original self. “In Emily’s philosophy, division was at the root of suffering。 and inversely, joy could be attained only by a state of union between the individual and the universe” (Gerin 152). The married Catherine laments her marriage and is desirous to return to nature, saying that: at twelve years old, I had been wrenched from the Heights, and 13 every early association, and my all in all, as Heathcliff was at that time, been converted at a stroke into Mrs. Linton, the lady of Thrushcross Grange, and the wife of a stranger: an exile, and outcast, thenceforth, from what had been my world…I wish I were a girl again, half savage and hardy, and free…and laughing at injuries, not maddening under them!(Emily Bronte 115). Catherine rejects her status as Mrs. Linton, which is symbolically indicated in her disowning her own reflection in the mirror of the room. When Nell tells Catherine it is herself, she is frightened to acknowledge the fact that she has lost her original nature. To cast off her new self as Mrs. Linton and retrieve her original self, her only way out is to cast off her the confinement of her body and transcend to the herworld, since death in Emily Bronte’s eyes is “an obliterating force, effacing identities, sorrows, etc. and as a unifying juncture with the universe”(Gerin 254). 4. Rehabilitation through Returning to Nature Heathcliff’s and Catherine’s Eventual Return to Nature Catherine realizes that she cannot forfeit her own nature as soon as Heathcliff leaves her. The return of Heatchcliff reignites her hope of owning both Heathcliff and Edgar. However, the reality does not allow her such luxury. So the only way to retrieve her original nature is to die and return to the chest of nature. In the fatal delirium, Catherine begs Nelly to open the windows so that she can breathe the smell of nature because her reminisce of her past and of the wild nature in the moors cannot satisfy her. After being turned down, 14 Catherine rushes to the window and tries to throw herself out of the confinement of the house. Gilbert suggests that finally Catherine’s burial an a green slope in a corner of the churchyard, instead of besides her relatives or those of her husband, is suggestive of a return to the moors, to which she was so attached, and of which she was so much a creature.(61) Yet Catherine does not really retrieve her own self immediately after death. So her ghost haunts her home Wuthering Heights and Heathcliff for twenty years, just as she tells Heathcliff, “I’ll not lie there by myself: they may bury me twelve feet deep, and throw the church down over me, but I won’t rest till you are with me. I never will” (Emily Bronte 130). Catherine’s ghost’s haunting the Heights indicates that Heathcliff can not fet his love and is inplete with his love and original nature lost. Love is the fountain of his life and is the only spiritual prod for him in the world. After Catherine dies, Heathcliff lives an empty life and he confesses to Nelly, “With my hard constitution and temperate mode of living, and occupation, I ought to, and probably shall remain above ground, till there is scarcely a black hair on my headAnd yet I cannot continue in this condition!” (Emily Bronte 296) With the death of Heathcliff, Catherine and Heathcliff actually find their lost self in each other and in nature. So the ghosts