Page 14 - GALIET ETERNITY´S LOVE´S Epitaph: Bronte IV

and themes2 3⁄4 that Brontë is incapable of moralizing either group for she understands that, by each dwelling in its own cosmic order, it infuses the other with much needed solar and lunar immanence. This polarity is what makes Wuthering Heights one of the great works in Universal Literature. Moreover, Brontë’s Blakean philosophy reaffirms that Wuthering Heights cannot co-exist without Thrushcross Grange in very much the same way that Catherine and Heathcliff cannot co-exist within a class-conscious Victorian England. Both share the same elemental nature and drive: love. Its opposite, torment, arises out of a frustrated love and although it can be analyzed as the Freudian instinctual struggle between Eros and Thanatos evolving from the wild and savage in us, it can be argued that in Brontë it represents Thanatos-impulse born out of Eros’s rejection. Nevertheless, whether Freudian or otherwise, the leading characters thrive in the poetics of Wuthering Heights’ tragedy: Heathcliff’s vindictiveness and Catherine’s self-torture arise out of despair and the subliminal, dark recesses of their psyches are awoken while their loving and passionate selves roam the lipwing- singing moors consumed with their own ecstasies.
Perhaps the most shimmering revelation that evinces Brontë’s “lack of moralizing” and “acceptance of experience” attitude comes after
2 Brontë organizes the novel into pairs: Catherine and Heathcliff are seen as identical, Catherine’s character is divided into two warring sides: the side that marries Edgar and the side that yearns for Heathcliff. Catherine and young Catherine are remarkably similar yet strikingly different. The two narrators Mr. Lockwood and Ms. Dean, the two houses, first half of the novel deals with the first generation and the second with their children, first ends in doom and the second in hope.
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