Many critics of Eamily Bronte's novel Wuthering
Heights see its second part as a counterpoint that
comments on, if it does not reverse, the first part, where
a "romantic" reading receives more confirmation. Seeing
the two parts as a whole is encouraged by the novel's
sophisticated structure, revealed in its complex use of
narrators and time shifts. Granted that the presence of
these elements need not argue an authorial awareness of
novelistic construction comparable to that of Henry
James, their presence does encourage attempts to unify
the novel's heterogeneous parts. However, any
interpretation that seeks to unify all of the novel's
diverse elements is bound to be somewhat
unconvincing. This is not because such an
interpretation necessarily stiffens into a thesis (although
rigidity in any interpretation of this or of any novel is
always a danger), but because Wuthering Heights has
recalcitrant elements of undeniable power that,
ultimately, resist inclusion in an all-encompassing
interpretation. In this respect, Wuthering Heights shares
a feature of Hamlet.