Wuthering Heights Study Guide
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Chapter V

Chapter Summary

Mr. Earnshaw's health declines sharply, leaving him irritable and fiercely protective of Heathcliff. Hindley's open contempt provokes violent rages in his father and eventually leads to Hindley being sent away to college. Meanwhile, the manipulative servant Joseph tightens his grip on the weakening master, stoking prejudice against both Heathcliff and Catherine. Nelly describes Catherine as a wild, high-spirited child whose bond with Heathcliff is the deepest attachment in her life, and whose defiance increasingly alienates her ailing father.

One October evening, the household sits quietly by the fire—Catherine leaning against her father's knee, Heathcliff at her feet—when Mr. Earnshaw dies peacefully in his chair. Catherine discovers the death herself and cries out to Heathcliff. Nelly fetches the doctor, and returning later she finds the two children awake past midnight, consoling each other with visions of heaven more beautiful than any sermon.

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Original Text
In the course of time Mr. Earnshaw began to fail. He had been active and healthy, yet his strength left him suddenly; and when he was confined to the chimney-corner he grew grievously irritable. A nothing vexed him; and suspected slights of his authority nearly threw him into fits. This was especially to be remarked if any one attempted to impose upon, or domineer over, his favourite: he was painfully jealous lest a word should be spoken amiss to him; seeming to have got into his head the notion that, because he liked Heathcliff, all hated, and longed to do him an ill-turn. It was a disadvantage to the lad; for the kinder among us did not wish to fret the master, so we humoured his partiality; and that humouring was rich nourishment to the child’s pride and black tempers. Still it became in a manner necessary; twice, or thrice, Hindley’s manifestation of scorn, while his father was near, roused the old man to a fury: he seized his stick to strike him, and shook with rage that he could not do it. At last, our curate (we had a curate then who made the living answer by teaching the little Lintons and Earnshaws, and farming his bit of land himself) advised that the young man should be sent to college; and Mr. Earnshaw agreed, though with a heavy spirit, for he said—“Hindley was nought, and would never thrive as where he wandered.” I hoped heartily we should have peace now. It hurt me to think the master should be made uncomfortable by his own good deed. I fancied the discontent of age and disease arose from his family disagreements; as he would have it that it did: really, you know, sir, it was in his sinking frame. We might have got on tolerably, notwithstanding, but for two people—Miss Cathy, and Joseph, the servant: you saw him, I daresay, up yonder. He was, and is yet most likely, the wearisomest self-righteous Pharisee that ever ransacked a Bible to rake the promises to himself and fling the curses to his neighbours. By his knack of sermonising and pious discoursing, he contrived to make a great impression on Mr. Earnshaw; and the more feeble the master became, the more influence he gained. He was relentless in worrying him about his soul’s concerns, and about ruling his children rigidly. He encouraged him to regard Hindley as a reprobate; and, night after night, he regularly grumbled out a long string of tales against Heathcliff and Catherine: always minding to flatter Earnshaw’s weakness by heaping the heaviest blame on the latter. Certainly she had ways with her such as I never saw a child take up before; and she put all of us past our patience fifty times and oftener in a day: from the hour she came downstairs till the hour she went to bed, we had not a minute’s security that she wouldn’t be in mischief. Her spirits were always at high-water mark, her tongue always going—singing, laughing, and plaguing everybody who would not do the same. A wild, wicked slip she was—but she had the bonniest eye, the sweetest smile, and lightest foot in the parish: and, after all, I believe she meant no harm; for when once she made you cry in good earnest, it seldom happened that she would not keep you company, and oblige you to be quiet that you might comfort her. She was much too fond of Heathcliff. The greatest punishment we could invent for her was to keep her separate from him: yet she got chided more than any of us on his account. In play, she liked exceedingly to act the little mistress; using her hands freely, and commanding her companions: she did so to me, but I would not bear slapping and ordering; and so I let her know. Now, Mr. Earnshaw did not understand jokes from his children: he had always been strict and grave with them; and Catherine, on her part, had no idea why her father should be crosser and less patient in his ailing condition than he was in his prime. His peevish reproofs wakened in her a naughty delight to provoke him: she was never so happy as when we were all scolding her at once, and she defying us with her bold, saucy look, and her ready words; turning Joseph’s religious curses into ridicule, baiting me, and doing just what her father hated most—showing how her pretended insolence, which he thought real, had more power over Heathcliff than his kindness: how the boy would do _her_ bidding in anything, and _his_ only when it suited his own inclination. After behaving as badly as possible all day, she sometimes came fondling to make it up at night. “Nay, Cathy,” the old man would say, “I cannot love thee, thou’rt worse than thy brother. Go, say thy prayers, child, and ask God’s pardon. I doubt thy mother and I must rue that we ever reared thee!” That made her cry, at first; and then being repulsed continually hardened her, and she laughed if I told her to say she was sorry for her faults, and beg to be forgiven. But the hour came, at last, that ended Mr. Earnshaw’s troubles on earth. He died quietly in his chair one October evening, seated by the fire-side. A high wind blustered round the house, and roared in the chimney: it sounded wild and stormy, yet it was not cold, and we were all together—I, a little removed from the hearth, busy at my knitting, and Joseph reading his Bible near the table (for the servants generally sat in the house then, after their work was done). Miss Cathy had been sick, and that made her still; she leant against her father’s knee, and Heathcliff was lying on the floor with his head in her lap. I remember the master, before he fell into a doze, stroking her bonny hair—it pleased him rarely to see her gentle—and saying, “Why canst thou not always be a good lass, Cathy?” And she turned her face up to his, and laughed, and answered, “Why cannot you always be a good man, father?” But as soon as she saw him vexed again, she kissed his hand, and said she would sing him to sleep. She began singing very low, till his fingers dropped from hers, and his head sank on his breast. Then I told her to hush, and not stir, for fear she should wake him. We all kept as mute as mice a full half-hour, and should have done so longer, only Joseph, having finished his chapter, got up and said that he must rouse the master for prayers and bed. He stepped forward, and called him by name, and touched his shoulder; but he would not move: so he took the candle and looked at him. I thought there was something wrong as he set down the light; and seizing the children each by an arm, whispered them to “frame upstairs, and make little din—they might pray alone that evening—he had summut to do.” “I shall bid father good-night first,” said Catherine, putting her arms round his neck, before we could hinder her. The poor thing discovered her loss directly—she screamed out—“Oh, he’s dead, Heathcliff! he’s dead!” And they both set up a heart-breaking cry. I joined my wail to theirs, loud and bitter; but Joseph asked what we could be thinking of to roar in that way over a saint in heaven. He told me to put on my cloak and run to Gimmerton for the doctor and the parson. I could not guess the use that either would be of, then. However, I went, through wind and rain, and brought one, the doctor, back with me; the other said he would come in the morning. Leaving Joseph to explain matters, I ran to the children’s room: their door was ajar, I saw they had never lain down, though it was past midnight; but they were calmer, and did not need me to console them. The little souls were comforting each other with better thoughts than I could have hit on: no parson in the world ever pictured heaven so beautifully as they did, in their innocent talk; and, while I sobbed and listened, I could not help wishing we were all there safe together.
Source text: Project Gutenberg #768. Public domain worldwide.
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Chapter V functions as a threshold chapter, closing the era of the first generation and setting the conditions for everything that follows. Brontë structures the chapter around a series of diminishments—Earnshaw's physical decay, his moral authority, his capacity for affection—so that his death feels less like an event than a gradual extinction. The pathetic fallacy of the high wind roaring in the chimney on the night of his death is carefully calibrated: the storm is wild yet not cold, mirroring a passing that is violent in its emotional aftermath yet strangely peaceful in its physical fact. Nature here does not simply reflect human feeling; it frames mortality within a larger, indifferent sublime.

Nelly's portrait of Catherine is one of the novel's most important pieces of characterisation. The catalogue of contradictions—wild yet tender, defiant yet remorseful, laughing at punishment yet weeping when she causes genuine pain—establishes Catherine's doubleness as a structural principle rather than mere inconsistency. Her retort to her father, "Why cannot you always be a good man, father?", is simultaneously childish impudence and devastating moral symmetry: she holds a mirror to his own failures of patience and love. The exchange also previews the novel's persistent interrogation of what goodness and wildness actually mean.

Joseph's introduction as a hypocritical Calvinist adds an ideological dimension to the domestic conflict. Nelly's description of him as "the wearisomest self-righteous Pharisee that ever ransacked a Bible to rake the promises to himself and fling the curses to his neighbours" deploys biblical allusion ironically: the very language of scripture is weaponised to expose scriptural abuse. Joseph's influence over the dying Earnshaw represents the corruption of patriarchal authority by institutional religion, a theme Brontë will develop through Lockwood's encounters with him in the novel's opening chapters.

The deathbed tableau is one of the novel's most carefully composed scenes. The spatial arrangement—Nelly at her knitting, Joseph with his Bible, Catherine against her father's knee, Heathcliff with his head in Catherine's lap—maps the social and emotional hierarchy of Wuthering Heights in a single image. Earnshaw's last gesture, stroking Catherine's hair, and his last spoken wish that she could "always be a good lass," condense his entire relationship with her: love qualified by disappointment, tenderness shadowed by reproach. The silence the household keeps, "mute as mice," before Joseph's intrusion breaks it, gives the death a brief, fragile dignity that the novel rarely permits its characters.

The chapter closes on a note of transcendent intimacy between Catherine and Heathcliff. Nelly's confession that she "could not help wishing we were all there safe together" as she listens to the children's vision of heaven is the novel's first suggestion that the bond between them gestures toward something beyond the social world—a romantic sublime that orthodox religion, embodied by Joseph, cannot accommodate. This closing image retrospectively reframes the entire chapter: Earnshaw's death is not primarily a social event but the moment that leaves Catherine and Heathcliff alone, facing a world that will consistently fail to contain them.

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✎ Mr. Shifflett's Note
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