But here, we have a kind of love that is very difficult to classify. Some elements would place this kind of love within romantic tradition, like the intense involvement with nature, some mystical references, the wish of death from the lovers, and the most important: the longing for a soul unity with the beloved. But in context with the social background of that time we can confuse this love with that one related to the process of courtship and marriage which leads to the integration in society. For instance, we find this kind of relationship between Catherine and Edgar Linton.

But in this novel we find another kind of ‘romantic love’ in the sense that for romantics Love passion involves suffering, mostly because this romantic love can’t be fulfilled, as it happens to the protagonists in the novel; Catherine and Heathcliff cannot find a way to be together except in the grave. T

This idea of immortality through love is also reflected in another Emily Brontë poem: “No coward soul is mine” (1846):

In fact, Heathcliff doesn’t accept her decision and leaves for three years. When he returns Edgar and Catherine are married. She is really happy with his comeback. She tries to force both men to be friends. She continues in a state of good humour until it becomes obvious that neither Heathcliff nor Edgar is willing to play their part in this triangular friendship.

This could be an exemplification of what Catherine and Heathcliff are; maybe they are these two equal souls and destiny has put them together. And the last lines reflect the inexorably end of this story: both lovers could only be together in death, which is the desired end from the protagonists for most of the romantic love tragedies.

The idea of spiritual love is reinforced by the fact that there are no sexual clues in the novel about Heathcliff and Catherine relationship. After her marriage they are no more seen in the moors together. In her speech to Nelly in chapter IX she also says:

Some topics in this essay:
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