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Catherine is especially hard to forget for Heathcliff, who finds himself believing that “on going out I should meet [Catherine]; when I walked on the moors I should meet her coming in” (293).Even though Catherine is dead, she is very much alive in Heathcliff’s mind, and he expects to find her in the ghostly moors at night.
Ghost stories frequently use common folklore as inspiration for supernatural events (ODLT). Although Nellie refuses to believe in ghosts, she listens to the tales of her class, knows their fears, and tells their stories to Lockwood.
has a ghost, Catherine Earnshaw, who scares Lockwood when he is at Wuthering Heights (117). As a character who is from the lower class but is exposed to middle class ideas, Nellie is torn between the superstitious beliefs of her class and the rational thoughts of her employers.
Catherine and Heathcliff are part of each other, so much so that they haunt each other after death.
Additionally, the introduction of the ghost of Catherine at the beginning of the novel makes it clear that the story is unfinished, the characterization is still progressing, and that even though some of the characters are dead, their memory is very much alive in the minds of the living characters.
The lower class’ fear of ghosts is not just part of the ghost story; it demonstrates how the characters in the novel perceive reality, thus adding cultural detail to the story and enhancing the realism of the work.
In addition to being part of the lower class’ folklore, ghostly visions seem to belong to the moor and the Heights. Catherine’s ghost is strongly associated with the moors, suggesting that the land itself was haunted or prone to visits from the supernatural.
Heathcliff’s belief that she is still out walking the moors, and Lockwood’s experience with her outside his window, develop Catherine and Heathcliff’s highly spiritual relationship.
Without the existence of the ghost story in is that as a realist narrator, he has the duty to recount the entire story, without leaving any detail out.
Even though Lockwood, and to some extent Nellie, are uncomfortable talking about supernatural events, they feel it is their duty to tell the entire story regardless of its plausibility.
Smajic writes that holders of the “fixed, stable narrative point of view,” are in a double bind when presenting the supernatural to their audience, since they must deal with the “instinctive faith in the evidence of one’s sight and the troubling knowledge that vision is often deceptive and unreliable” (1109).