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.
The Oxford Dictionary of Literary Terms defines realism as “recording or ‘reflecting’ faithfully an actual way of life … the problems of ordinary people in unremarkable circumstances …
rendered with close attention to the details of physical setting and to the complexities of social life.” may deal with the supernatural, but both narrators, Lockwood and Nellie, are intent on telling the story of the middle-class Linton, Earnshaw, and Heathcliff families.
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.He claims that the setting is distinctly Yorkshire and that “the language of Nelly, Joseph and Hareton is the language of Yorkshire people” (161).As further evidence for the painstaking detail Emily Brontë put into her work, C. Sanger analysed the passage of time throughout the novel and found the ages of the characters and the years are accurate throughout the novel (134–136). Heathcliff desires to be haunted by Catherine, but she refuses to.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.The ghost story provides additional detail to the class conflict, setting, characters, and realism in the novel.Ghosts, despite their incredulity in modern science, were an inexplicable, inextricable part of life, and as such, are a part of the realism depicted in .This “twist” is the inclusion of a ghost story as part of the realism in the novel. In an age of realism, believing in ghosts was frowned upon by the educated upper classes; however, the supernatural was still widely believed in the lower class, especially by the lower class in .As a genre, the ghost story typically includes at least one ghost who is seen, felt, or perceived by a character, the perception of which generally inspires “dread or unease” in the character (ODLT). Nellie claims that “the country folks, if you ask them, would swear on the Bible that he walks: there are those who speak to having met him near the church, and on the moor, and even within this house,” proving that the supernatural does not just exist for the main characters — it is believed in by the lower class as well (430).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).