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and Edgar in the room alone, Catherine tries to push her out of the room and pinches her arm, leaving an ugly mark. When the baby Hareton complains about “wicked Aunt Cathy”,[26] she shakes him until his teeth rattle, and Edgar tries to intervene. She denies she pinched Nelly, but Nelly shows Edgar the mark. Livid with fury, Catherine boxes Edgar’ ears. Edgar is horrified to see this other side of Catherine, capable of telling lies and becoming violent. Emily uses the description of Female Gothic to show that the nature of human beings has two sides. No one is perfect and one is bound to have his or her ugly side. Although she is married to Edgar, she is clear that her love for Heathcliff is remembered with deep gratitude. “if the wicked man in there had not brought Heathcliff so low, I shouldn’t have thought of it. It would degrade me to marry Heathcliff now; so he shall never know how I love him; and that not because he’s handsome, Nelly, but because he’s 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.”[27] Here Emily employs the image of the Nature to symbolize the differences between Heathcliff, Catherine, and Edgar’s nature. In the world of Emily, there is no distinction between the good and the evil. Catherine’s love for Heathcliff is unparalleled. “My love for Linton is like the foliage in the woods: time will change it, I’m well aware, as winter changes the trees. My love for Heathcliff resembles the eternal rocks beneath: a source of little visible delight, but necessary. Nelly, I am Heathcliff! He’s always, always in my mind: not as a pleasure, any more than I am always a pleasure to myself, but as my own being.”[28] The extraordinary love hardly appears in any Gothic novels, in which the love is always condensed or mentioned casually. Compared with the ordinary Gothic characters, the hero and heroine in Emily’s Wuthering Heights own more true feelings and fresh vigor. Catherine’s mixed and conflicted attitude towards her marriage splits and tears her. The anguish verging on collapse and the ravings in morbid state differ from the old Gothic tradition and pave the way for Gothic novels. Emily Bront? observes people from the angle of the feminist portrays her characters from the aspects of Female Gothic, and therefore brings us the shock of supernatural strength as well as the vivid portrayal of the hero and the heroines. The further research for the psychology of the Gothic characters develops the shallow horror-making technique in the old Gothic novels and so softens the primitive, pure terror to some extent. It leaves the readers more room to develop their own thought and enhances the depth of thought and the aesthetic awareness in Gothic novels. 3.2 Terrifying nightmaresThe terrifying and mysterious atmosphere forms in the nightmare of Mr. Lockwood. Nowhere else in the book is Emily Bront?’s genius so vividly revealed as in this part. Here, past and present, dream and reality, are melded into a coherent whole. All references tie in together: the books Lockwood finds and reads in the bedroom, the names that are mentioned, and finally, Lockwood’s unbelievably vivid dreams.“I muttered, knocking my knuckles through the glass, and stretching an arm out to seize the importunate branch; instead of which, my fingers closed on the fingers of a little, ice-cold hand! The intense horror of nightmare came over me: I tried t