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Like Dracula who seems an extension of his dark world, Bronte’s hero/villain Heathcliff, is clearly as much as a creature of storm, as the house he occupies. Heathcliff’s childhood experiences have turned Heathcliff into the monster seen in his adult life. Like Dracula, Heathcliff’s origins are unknown, One day Mr. Earnshaw went to Liverpool to conduct some business, found a parentless gypsy boy wandering the streets, brought him home and “christened hum Heathcliff.” (WH-p.52) However, Heathcliff’s happiness at Wuthering Heights was short lived and “died in childhood” (WH-p.52) as a result of the abuse he had received form his step sibling. As children, Catherine and Heathcliff were passionately close: “It was the greatest punishment ever invent[ed] for her to be keep separate from him,” (WH-p.55) yet Heathcliff “would stand Hindley’s blows without winking or shredding tear” (WH-p.52) as a result of jealously. “So, from the very beginning, Heathcliff bread bad feelings in the house,” (WH-p53) which worsened with the death of Mr. Earnshaw. Hindley stopped the “naughty, swearing boy” (WH-p.65) from his studies and forced him to live a life similar to that of a servant. As the abuse of Heathcliff’s grows, he finds Catherine is his only means of please in his hostile environment. The two play endlessly on the moors by Wuthering Heights and in essence are children of the heaths and the cliff; bot are wild aspects of nature and find comfort here: “It was on of their chief amusements to run away to the moors in the morning and remain there all day, and the after punishment grew a mere thing to laugh at.” (WH-p.59) However, after spending five weeks at Thrushcross Grange recovering from a dog bite, Catherine returns blinded by the Victorian ideals of ignorance to those not prosperous. Upon her arrival home to Wuthering Heights, she dismisses her soul mate Heathcliff and his gypsy manners. Even the maid Nelly notices the “unfeeling child [and] how slightly she dismisses her old playmate’s troubles. I could not have imagined her to be so selfish.” (WH-p.69) Like Dracula, Heathcliff rejects the Victorian ideals Cathy has embraced. Catherine’s rejection of her friend further pushes Heathcliff into idle. Heathcliff is genetically wild, and is not cruel or unkind as long as he has someone to share his life with. Once Catherine has distanced herself from Heathcliff, his “predominately passional, irrational, unknown, and unconscious part of the psyche the id or ‘it’”32 take over Heathcliff thus “the primary traits ascribed to the id apply perfectly to Heathcliff: the source of psychic energy; the sear of the instincts (particularly sex and death); the essence of dream; the archaic foundation of personality- selfish, asocial, impulse”33 are released. It is the loss of Catherine that turn Heathcliff into a monstrous villain, seemingly devoid of the superego. Heathcliff loses the “aspect of the psyche, which [Freud} called the superego [which] seems to be outside the self, making moral judgements, telling us to make sacrifices for the good causes even though self-sacrifice may not be quite logical or rational.”34 Just as Dracula becomes a monstrous villain through becoming immortal thus removed from the rest of society, Heathcliff becomes monstrous through losing his only tie to society, his friend Cathy. Heathcliff gradually loses Catherine’s love to Linton, son of the aristocratic family. As Linton tries to win Catherine’s heart over, she removes herself from the stormy and wild ways she much enjoyed as a child with Heathcliff: “Doubtless Catherine marked the difference between her friends as on came in, and the other went out. The contrast resembled what you see in exchanging a bleak, coal

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