00100	QUESTIONS ABOUT "WUTHERING HEIGHTS"
00200	
00300	
00400		When I read "Wuthering Heights" and the articles contained in
00500	the Noron Critical Edition thereof,  a  number  of  questions  arose.
00600	Mainly, it seems to me that the critics all impose their own ideas on
00700	the book and on Emily Bronte. In fact, the nineteenth century critics
00800	seem more plausible than the twentieth century ones.
00900	
01000		1.  If the book is mainly about the passion of Heathcliff and
01100	Catherine rather than about Heathcliff, why does precisely half of it
01200	occur after her death?
01300	
01400		2.    Why  is the book given a happy ending?   Is it merely a
01500	concession to readers?
01600	
01700		3.     How come the  twentieth  century  critics  ignore  the
01800	nineteenth century interpretations that Charlotte Bronte approved?
01900	
02000		4.    Why  can't  we interpret it primarily as a naturalistic
02100	novel telling us that given certain antecedents, this is  what  might
02200	happen?
02300	
02400		5. Mathison, in his criticism of Nelly Dean, forgets that the
02500	author has to prevent her fom intervening effectively  or  else  lose
02600	the story.
02700	
02800		6.    Why  did Charlotte Bronte apologize for Emily's lack of
02900	knowledge direct knowledge of the people?  Was it simply a desire not
03000	to  offend  her  neighbors?        Could she not merely appeal to the
03100	universality of the theme?
03200	
03300		7.    In much of the book, Heathcliff behaves as the  forcing
03400	function on the right hand side of a differential equation, i.e.  his
03500	actions are not really consequences of the situation, but the actions
03600	of other people are consequences of his actions.
03700	
03800		8.    Why  does  Heathcliff  die  as  he  does rather than by
03900	violence?     Why doesn't he try to break the alliance of  Cathy  and
04000	Hareton?
04100	
04200		9.     Was  it  really  the  first  to systematically portray
04300	"humanity in the wild"?
04400	
04500		10. Suppose we want to apply what we have learned from AI  to
04600	the  criticism  of  a  work like "Wuthering Heights".  The first step
04700	might be the following kind of semantic  textual  analysis:    As  we
04800	proceed  through  the  text,  we  ask  of  each  sentence  whether it
04900	essentially follows from the structure that has previously been built
05000	up  or  is  it  a fresh infusion of the author's ideas, perhaps of an
05100	idea we have not previously seen.
05200	
05300		11. Why don't they note chapter XXXIII when the worms finally
05400	turn?