In this passage from Chapter XXXIII, Heathcliff confesses to Nelly his inner state. What Nelly calls Heathcliff’s “monomania on the subject of his departed idol” has now reached its final stage of development. In the passage in which Heathcliff describes his excavation of Catherine’s grave, the reader gains insight into Heathcliff’s frustration regarding the double nature of all of Catherine’s “memoranda.” While Catherine’s corpse recalls her presence, it fails to substitute fully for it, and thus recalls her absence. Heathcliff’s perception of this doubling comes through in his language. The many signs of Catherine show that “she did exist” but that “I have lost her.” In the end, because his whole being is bound up with Catherine, Heathcliff’s total set of perceptions of the world is permeated by her presence. Consequently, he finds signs of Catherine in the “entire world,” and not just in localized figures such as her daughter or a portrait of Catherine.
Cleopatra's sexuality, despite condemnation by the patriarchal men - she is referred to as 'strumpet' and 'whore' on various occasions throughout the play - is unhidden and unrestricted. Her sexual power over men is conveyed boldly, for example, in her descriptions of her former conquests 'great Pompey' and 'Broad-fronted Caesar'. Cleopatra's sexuality is not a thing to be locked up, as in Hamlet and Othello , but is celebrated as a positive force. Surprisingly, even Enobarbus, despite his patriarchal views, does on occasions present her as positively sexual, as his unforgettable description of her indicates: