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By Peter Miles (auth.)

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200]. ) Many other critics have stressed Nelly's ordinariness: Nelly's telling the story thereby places it within the realm of 'the psychologically familiar' [Van Ghent, p. 189], or constitutes a simple foil to the extraordinariness of her story and its characters, the house- NARRATIVE 33 keeper standing- with Lockwood- as the 'pedestrian spectator, whose imperceptive evaluations serve to understate the demonic passion and feeling in the novel' [Reynolds, p. 31]. Hafley, however, offers grounds for seeing Nelly as a wilful, manipulative character motivated by a 'romantic dream for herself' [p.

54-5] - and even of her being 'steady as an oil-tanker in dirty weather' [Bloomfield, p. 304]Nelly has also been isolated for investigation as an unreliable narrator whose judgements have to be viewed sceptically. Nelly is narrator, character and actor [if. Langman]. She is a character, in that she is related in highly specific social and personal ways to those around her, and in possessing a marked and complex personality. She is an actor in that she is a great deal more than a fly on the wall in relation to the story.

Allott, 1970, p. 31]. A Novel is a Novel/is an Author/is a Reader The teasing appeal of pattern in the verbal texture of Wuthering Heights made it a prime candidate for attention when formalist critics first started applying to novels techniques of analysis initially developed in connection with poetry. In America, two essays by Schorer partly devoted to Wuthering Heights [ 1948; 1949] achieved a seminal status in formalist criticism at large, while in England the inclusion of an essay on Wuthering Heights by Klingopulos in a famous series entitled 'The Novel as Dramatic Poem' posted notice of the responsiveness of Emily Bronte's novel to formalist strategy.

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