Many critics of Emily Brontë’s novel Wuthering Heights see its second part as a counter-point that comments on, if it does not reverse, the first part, where a romantic reading receives more confirmation.

Many pundits of the masterpiece written by EB see in her novel - the second part specifically - as a counterpoint to the first part. In other words, the second part is almost the opposite of the first part.


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.

So we do have two parts almost in opposite directions. But, the novel has to it a very clever structure that suggests to us to consider the same move as a whole. As a unicum body and NOT two different parts


Granted that the presence of these elements need not argue for an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts.


This is a difficult sentence in its meaning: actually, it means: even though we do have ON ONE HAND the fact that the novel could be considered divided into two parts , and ON THE OTHER HAND that we should for the good consider the same novel as a whole WE DO KNOW FOR SURE that all these elements or characteristics of the same novel are present because the author EB knows how to write a novel itself

"authorial awareness of novelistic construction" means who writes a book in this case EB is perfectly aware of how to write it and turns out the novel is similar to that of James



However, any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing.

However, all we said above is somehow inconsistent. We do have difficulty framing the novel itself and its structure


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.

WHY, WHY what we analyze about the novel, in the end, is inconsistent? why we do have difficulties understanding its structure?

The reason is NOT that we have a rigid, inflexible interpretation of it - and by the way, any rigid understanding or approach, in general, is almost always detrimental to understanding anything we are analyzing - BUT the real reason WHY we have a difficult to put the novel in a specific and consistent frame is 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."

WH has a strong and firm opposition or uncooperative attitude towards the novel itself. In other words, he DOES NOT have a flexible approach to it. Doing so, this UNflexible analysis of the novel, is the same thing he did with Hamlet: a rigid approach to the analysis of the novel.


I hope now is more clear the big picture with the explanation of the entire passage

Please answer question 8th

Many critics of Emily Brontë’s novel see its second part as a counter-point that comments on if it does not reverse, the first part, where a romantic reading receives more confirmation.

The Emily Bronte novel, which is one of the pinnacles in terms of literature of her era nineteenth century is basically viewed into two parts: the second almost reverse what the first part of the novel narrates. The second is more romantic. From this, we could infer that the first is not that much. BTW here at Project Gutenberg the novel which is quite beautiful https://www.gutenberg.org/files/768/768-h/768-h.htm


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.

The structure of the book is complex and the structure itself suggests us frame the same novel through the lens of a unique frame. I.E we need to view the novel as a whole. To spot the unitarian picture. Notice for instance how the structure is complex due to several elements such as time shifts

Granted that the presence of these elements need not argue for an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts.

This is probably the most convoluted sentence to address in its meaning. The presence of these elements is not so extreme that we do need an "authorial awareness" . Nonetheless, we need to address the novel, once again, as a whole

However, any interpretation that seeks to unify all of the novel’s diverse elements is bound to be somewhat unconvincing.


Shift in the argument due to the word "However". Even though the right way to follow is to unify the different elements of the novel to obtain a complete yet clear wide-breath view, this effort MAYBE is a waste of time

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),

Why perhaps this is wrong ?? Well, it is wrong NOT THAT MUCH because this process leads us to crystallize or freeze making rigid our process and turns out this could bring us to a bias position (in fact manage any novel in this way is dangerous)


but because Wuthering Heights has recalcitrant elements of undeniable power that, ultimately, resist inclusion in an all-encompassing interpretation.

BUT BECAUSE the novel is so powerful, so wild, the writing itself is so energetic that try to contain it in a unified yet single frame does not work. Think this banal example: In the movie, Jurassic park did the scientist contained the T-Rex into a fence ?' no way because the dinosaur was indeed SO POWERFUL. Nature overcame any obstacles. The novel by Bronte is this of a kind. In fact, it is one of the spotlight of the literature in the entire human history


In this respect, Wuthering Heights shares a feature of Hamlet.

This is like a side note: there is a similarity between Bronte's novel and the Hamlet: the wilderness


I hope my explanation teaches you how to read a passage

1. According to the passage, which of the following is a true statement about the first and second parts of Wuthering Heights?

A. The second part has received more attention from critics.
B. The second part has little relation to the first part.
C. The second part annuls the force of the first part.
D. The second part provides less substantiation for a romantic reading.
E. The second part is better because it is more realistic.

sol A more attention . eliminate no where stated
B little relation. eliminate as second part use to counter point the first
C eliminate. no where stated or can ve infered that it annuled or weaken the 1st part
D correct. as second part counterpoint the first part which mention romantic reading. thus 2nd part will be less or not at allof romantic reading

2. Which of the following inferences about Henry James’s awareness of novelistic construction is best supported by the passage?

A. James, more than any other novelist, was aware of the difficulties of novelistic construction.
B. James was very aware of the details of novelistic construction.
C. James’s awareness of novelistic construction derived from his reading of Brontë.
D. James’s awareness of novelistic construction has led most commentators to see unity in his individual novels.
E. James’s awareness of novelistic construction precluded him from violating the unity of his novels.

sol:
see where has been james mentioned
it state about james as " comparable authorial awareness of novelistic construction" which b clearly state. so correct ans is B

3. The author of the passage would be most likely to agree that an interpretation of a novel should

A. not try to unite heterogeneous elements in the novel
B. not be inflexible in its treatment of the elements in the novel
C. not argue that the complex use of narrators or of time shifts indicates a sophisticated structure
D. concentrate on those recalcitrant elements of the novel that are outside the novel’s main structure
E. primarily consider those elements of novelistic construction of which the author of the novel was aware
SOL:
we can clearly eliminate OPTION c,d,e. now we are left with a and b.
though A is mentioned in the passage but it is in respect with this novel not in general
and option B is stated in general for every novel . so i will be more inclined toward B

4. The author of the passage suggests which of the following about Hamlet?

A. Hamlet has usually attracted critical interpretations that tend to stiffen into theses.
B. Hamlet has elements that are not amenable to an all-encompassing critical interpretation.
C. Hamlet is less open to an all-encompassing critical interpretation than is Wuthering Heights.

sol:
see last line.clearly hint toward B

1. According to the passage, which of the following is a true statement about the first and second parts of Wuthering Heights?

A. The second part has received more attention from critics.
B. The second part has little relation to the first part.
C. The second part annuls the force of the first part.
D. The second part provides less substantiation for a romantic reading.
E. The second part is better because it is more realistic.

Imo D
A Incorrect. Second part has not received more attention than first part.
B Incorrect It is related to first part. Read the following lines carefully"Many critics of Emily Brontë’s novel Wuthering Heights see its second part as a counter-point that comments on, if it does not reverse, the first part, where a romantic reading receives more confirmation. "
C No it does not annual the first part.
D correct
E Irrelevant

2. Which of the following inferences about Henry James’s awareness of novelistic construction is best supported by the passage?

A. James, more than any other novelist, was aware of the difficulties of novelistic construction.
B. James was very aware of the details of novelistic construction.
C. James’s awareness of novelistic construction derived from his reading of Brontë.
D. James’s awareness of novelistic construction has led most commentators to see unity in his individual novels.
E. James’s awareness of novelistic construction precluded him from violating the unity of his novels.

Imo B
Granted that the presence of these elements need not argue for an authorial awareness of novelistic construction comparable to that of Henry James, their presence does encourage attempts to unify the novel’s heterogeneous parts.
A Incorrect. There is no comparison.
B Correct.
C there is no casual relationship.
D No such thing in the passage.
E Out of scope.

3. The author of the passage would be most likely to agree that an interpretation of a novel should

A. not try to unite heterogeneous elements in the novel
B. not be inflexible in its treatment of the elements in the novel
C. not argue that the complex use of narrators or of time shifts indicates a sophisticated structure
D. concentrate on those recalcitrant elements of the novel that are outside the novel’s main structure
E. primarily consider those elements of novelistic construction of which the author of the novel was aware

Imo B
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),
A is wrong. Passage does not say that rather it says do no be rigid.
B is correct.
C there is no link to passage.
D Irrelevant
E No such observation.

4. The author of the passage suggests which of the following about Hamlet?

A. Hamlet has usually attracted critical interpretations that tend to stiffen into theses.
B. Hamlet has elements that are not amenable to an all-encompassing critical interpretation.
C. Hamlet is less open to an all-encompassing critical interpretation than is Wuthering Heights.

Imo B
A is incorrect. There is no information
B correct.
C there is no comparison.