Like the Romantic poets who influenced her so much, Emily Bronte explores the redefinition of religious categories in her most famous novel, Wuthering Heights. Through the relationships between her main characters, Catherine, Heathcliff and Edgar, Bronte shifts traditional secular attitudes into a natural, personal and erotic context. The result is a romantic depiction of something like an earthly paradise and a hell. One of the main mechanisms the reader can use to observe this dichotomy is the use of descriptive landscapes and architecture. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Wuthering Heights is characterized as a sort of castle on a hill. The landscape contains "a few stunted fir trees at the end of the house; and a series of gaunt thorns stretching their branches in one direction as if begging for the sun" (4). The amount and variation of decoration is sparse, and unnecessary comforts are scarce. The type of plants chosen to inhabit the courtyard is also very significant: "stunted fir trees", which symbolize a non-nourishing environment, and "skinny thorns", which signify hidden dangers, give a dark and gothic image. The house is quite exposed to nature's elements, namely the wind, a force so powerful and uncontrollable, yet invisible. And the name of the estate itself has an invaluable meaning: Stormy being a significant provincial adjective, it describes the atmospheric turmoil to which its station is exposed in the event of a storm. (4)Although Wuthering Heights is exposed, the reader is told that "the architect had the foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with large projecting stones" (4). And before one can cross the threshold one must pass a disturbing display of "grotesque carvings" on the stone walls, especially above the front door, depicting a "desert of crumbling griffins and shameless boys" (4). joining a family is extremely difficult, both literally and metaphorically. And, as becomes evident throughout the novel, it is equally difficult to escape. Sturdy walls, narrow windows, and protective gargoyles show an unwillingness to allow outside forces to enter. Mr. Lockwood, a parody of a 19th century Gothic reader (a voyeur par excellence), is treated with a very bad reception, in the same way as the young Heathcliff is originally received. Thrushcross Grange, however, seems to be almost the antithesis of Wuthering Heights. It is primarily a place of light, flowers and comfort. Instead of "narrow" and "deeply recessed" windows, the Lintons "do not raise the shutters" and leave the curtains "only half closed" at night (48). Even the demonic Heathcliff calls the house... Beautiful: a splendid place with a crimson carpet, chairs and table covered in crimson, and a pure white ceiling, edged with gold, and a shower of glass drops hanging from the center in chains silver, and glittering with little drops of glass. it becomes thinner. (48)Wuthering Heights extends over a bare, rocky hill. Thrushcross Grange is nestled in a grove of lush green trees. From these initial descriptions of each estate we readers might be led to believe in a very black and white relationship between them: Wuthering Heights is hellish and Thrushcross Grange is heavenly. (except the altitude level, because the higher the more hellish, and the more heavenly it is in a low valley). However, there is no such simple dichotomy. The path to understanding both classes lies in exploring the characters that reside within them. And likewise the way to understand these characters, bethey Earnshaw, Linton or even the Heathcliff family, is to examine their relationships with their homes. Heathcliff, the "devil-son", is originally brought home to Earnshaw by force. Although he holds the power and influence of a favorite, in the eyes of his father and master of the house, he does not take the name Earnshaw, nor is he initially (and in some cases never) fully accepted into the house. Hindley, and even Heathcliff's later friend Catherine, are so disturbed by his dark, dirty appearance and lack of grace and good manners, that they secretly kick him out of the children's bedrooms and banish him to sleep in the stairwell . An event like this demonstrates both that Catherine and Hindley are superficial and driven by appearance, and that Heathcliff is actually so demonic and disturbing in his natural state of youth that, even though he is a child and supposed to be mostly innocent, they still reject him . as a playmate. The novel's first paragraph provides a vivid physical image of him, as Lockwood describes how his "black eyes" withdraw suspiciously below his eyebrows as Lockwood approaches. Heathcliff is well described as a Byronic hero; he is misanthropic, passionate, rebellious and of unknown origins. It is an important footnote in the story that Heathcliff was brought to Wuthering Heights as a homeless orphan from the streets of Liverpool, England. At the time Emily Bronte was writing, child labor laws were virtually nonexistent, and factory and living conditions in these industrial areas were astonishingly atrocious. These places were obviously dangerous, and despised by those who had to endure them. Not only that, but the upper classes detested them; conditions were so terrible that the wealthy classes feared a violent revolt. In 19th century literature these polluted and miserable cities and towns were likened to religion and often likened to hell. William Blake, in his 1804 poem, Jerusalem, referred to England's "dark and satanic establishments." (Ln. 8) Heathcliff is often associated with hell in description and called a "demon" throughout the novel. Heathcliff can hardly be understood. Due to his extremely cruel nature, the reader is led to wonder if he is something different than he seems. Perhaps his bad behavior and brutality are an expression of his unfulfilled love for Catherine or his difficult childhood. Another possibility is that his harsh external behavior is a literary costume for a traditional hero of Gothic romance. Even before Bronte wrote, the idea that a tough exterior encapsulates a romantic heart was already a novel cliché. Yet Heathcliff neither reforms nor reveals an inner heart of gold. And his abusive behaviors cannot easily be explained away as revenge for past abuse by Hindley, or anyone else. The way he tortures Isabella is purely sadistic. It becomes a game for him to see how much abuse she can take and still remain submissive. The absurd nature of Heathcliff's abuse of Isabella mirrors what Bronte herself does to the reader. It tests how many times we can be shocked by Heathcliff's violence, yet still see him as a sympathetic character. Catherine, as a child, is also a member of the Wuthering Heights family (although she is there by blood unlike Heathcliff). Although Catherine delights in messy, childish pastimes and games, she is still able to fit in quite naturally with the Lintons and their gentle, luxurious lifestyle. After five weeks of childhood spent at Thrushcross Grange, with Isabella and Edgar as playmates, instead of a wild, hatless little savage leaping into the house... there lit by abeautiful black pony, a very dignified person, with brown curls falling from the blanket of a feathered beaver, and a long cloth dress which she was obliged to hold in both hands in order to sell it (53) What binds little Catherine to Thrushcross Grange is primarily her longing for beautiful things and comfortable surroundings (as opposed to the many hours spent on her knees shaking and wet for a Sabbath sermon on godliness and self-control), as well as her desire for upward mobility. Although she feels the deep and mutual love between her and Heathcliff, she is aware that such a marriage would diminish her in terms of class and social position. The children grow into adulthood Catherine increasingly distances her eternal love, Heathcliff, for satisfaction immediate companionship and gentlemanly comfort with Edgar. Motivated by social ambition, Catherine... was a flirt, and evidently had an objection to her two friends meeting: for when Heathcliff expressed contempt for Linton, in his presence she could not half agree, as she did in his absence; and when Linton manifested disgust and dislike towards Heathcliff, she dared not treat his feelings with indifference, as if her playmate's contempt were of no consequence to her. (68) Heathcliff begs not to be taken for "those pitiful, foolish friends" Edgar and his sister Isabella. Catherine's actions are driven in part by her social ambition, which was first inspired by her five-week stay with the Lintons, which ultimately forces her to marry Edgar. On the other hand, she is also motivated by trying to transcend social conventions, such as loving Heathcliff, having tantrums, and running for the Moors. The contrast between these two impulses is as stark as the contrast between her two men. It is distinguished as… Exchanging a desolate, hilly, coal-rich country for a beautiful fertile valley; and [Heathcliff's] voice and greeting [Edgar's] voice and greeting were the opposite of [Heathcliff's] appearance: he had a soft, low way of speaking and spoke his words... less gruff and sweeter . (70) The descriptions of Catherine's suitors correspond very well to each's respective homes and estates: Wuthering Heights is represented by the "desolate, hilly, coal-bearing county" and Thrushcross Grange by the "beautiful fertile valley". Edgar serves as an opposing frame of reference for Heathcliff. He is well educated with grace and gentlemanly appearance. He is instilled with civil virtues and symbolizes the constancy of domesticated culture. This aspect is what ultimately pushes Catherine to choose Edgar over Heathcliff, and there the rivalry begins. However, in the end, Edgar's refined qualities prove useless in his battle for Catherine's undying affection. Edgar proves particularly helpless when he comes face to face with Heathcliff in a physical challenge. In spite, Catherine states that Heathcliff would raise a finger against [Edgar] as much as the king would march his army against a colony of mice. (115) Although Catherine chooses comfort at Thrushcross Grange, her true loyalties lie with Heathcliff and Wuthering Heights. After dreaming that she has gone to Heaven, Catherine confides to Nelly that if she actually goes there she will be "extremely miserable." (80) The realization Catherine gained from this dream helps explain her respective relationships with Edgar and Heathcliff. He explains:...Heaven didn't seem to be my home; and I broke my heart crying to return to Earth; and the angels were so angry that they hurled me out into the moor, to the top of Wuthering Heights; where I woke up sobbing with joy. (81)First of all the presence and mention of the "moor" in this dream is notrandom. Heath is an English word that can mean a species of shrubby plant, a flower similar to "heather" or a stretch of desolate land, called uncultivated or with poor soil. Each of these definitions can be associated with Heathcliff. In Catherine's dream heaven can be compared to Thrushcross Grange, and the dream becomes an allegory of Catherine's true feelings towards Edgar and Heathcliff. In her own words, Catherine confesses: I have no more business to marry Edgar Linton than I have to be in heaven. (81)Caterina is convinced that she is not a virtuous woman. Edgar seems to have the qualities of heaven, while Heathcliff is constantly loved by hell. Therefore, if not heaven, Thrushcross Grange and Edgar, then Catherine chooses the Underworld, Wuthering Heights and Heathcliff. However, due to naivety, the situation is imperfect. Catherine admits to a more secure and less demanding life in Edgar. She tells Nelly it would degrade me to marry Heathcliff now; so he will never know how much I love him; and this, not because he is handsome, Nelly, but because he is more myself than I am. Whatever our souls are made of, his and mine are the same, and Linton's is as different as a moonbeam from lightning, or frost from fire. (81) Catherine goes on to describe an idea she has that "there is, or should be, an existence of you beyond you. What good would my creation be if I were entirely contained here?" (82) This idea he describes is at the same time a description of true love and the presence of the religion of Romanticism. Bronte's novel is set in a landscape where no god exists. If there were a God present in this world, then Catherine would not need to wonder if there is an existence beyond her, or what use is her life contained in one place. God would be the existence beyond her. God would control the purpose of his life. Instead, the worship of God is replaced by the faith of Romanticism. Through Catherine's relationship with Heathcliff she is able to exist somewhere "beyond" herself. In the world of Wuthering Heights and Thrushcross Grange, there is no conceivable existence outside of the neighborhood. None of the characters the reader trusts ever leave the surrounding hills and meadows. But through their divine connection, Catherine is able to exist everywhere at once. His "great miseries in this world have been Heathcliff's miseries." That is to say, they exist so deeply within each other that they possess the same tools with which to see the world. They process events through the same lenses and arrive at a set of emotions. Catherine says "if all else died and he remained, I would continue to exist; and, if all else remained, and he were annihilated, the Universe would be transformed into a mighty stranger." He wouldn't know how to see the world. Their presences are so connected that one thinks of a pair of Siamese twins, or the hermaphrodites of Plato's Symposium. When one of them dies, the other can only exist in a half-limbo state until he too dies. Without Heathcliff Catherine would not be able to use her half of the tools of their shared life, and the Universe would indeed become a powerful stranger. When Catherine eventually dies in Edgar's house at Thrushcross Grange, while Heathcliff waits outside among the bushes and trees, the location of her burial is quite significant: the site of Catherine's internment, to the surprise of the villagers, was not neither in the chapel, under the carved monument of the Lintons, nor by the graves of his relatives, outside. It was dug on a green slope, in a corner of the yard, where the wall is so low that heather and blueberry plants have climbed up onto it from the moor; and the peat mold almost does.