HO THE BRONTES Heights is a " Primitive" in literary art. Its power strikes from its very primitiveness, both of form and expression. Romanticism, the roman- ticism of Hoffmann, for instance, of his story, Die Major at (The Entail)^ quite possibly influ- enced Emily Bronte's choice of plot. But there the romantic influence stops and stark realism begins. The German romantics and their fol- lowers were not realists ; they were theatrical through and through, in their dialogue, their emotions and their morals. Emily's north country realism, for all that it was concerned with a " stagey " plot, introduced a note which was com- pletely foreign to the taste of fiction readers of that time, a note of primitive passion which not even Charlotte understood. The story begins as if it were a diary written by a Mr. Lockwood, a stranger to the north country, who announces that his object in renting Thrush- cross Grange, from which he writes, is to find solitude. Immediately, however, or so it appears, upon his arrival, Lockwood had rushed off to pay a call on his landlord, Mr. Heathcliff-" the solitary neighbour that I shall be troubled with " - who lived four miles away at a lonely farm house, Wuthering Heights, " A perfect misan- thropist's Heaven," and Heathcliff " a capital fellow," writes Lockwood, on his return from the visit which, as he describes it, cannot have been agreeable. Heathcliff received him suspiciously and no sooner did Lockwood enter the house than a pack of rough dogs attacked him savagely. " An absolute tempest of yelping and worrying "