From the very openness of these transports it must be obvious that the relationship was an innocent one, and indeed that she herself was ignorant of any other possibility. Moreover, all the fire went out of it as soon as she had met and fallen in love with M. Héger. Emily’s case is more complex; consequently, all manner of solutions have been advanced for the puzzle she presents, from a most secretly hidden liaison of the ordinary sort to an incestuous relation with her brother Branwell. The most illuminating suggestions from the viewpoint of the present study are found in Romer Wilson’s _All Alone_ and in Virginia Moore’s _The Life and Eager Death of Emily Brontë_. Miss Wilson analyzes in Emily what she terms the “Dark Hero ideal,” a male alter ego which she very plausibly claims to be the most significant feature of Emily’s personality, and of which she shows Heathcliff in _Wuthering Heights_ to be a projection. Employing a different approach, Miss Moore assembles objective testimony that from earliest childhood Emily was boyish in appearance, temperament and behavior, and suggests that many of her lyrics were inspired by a person of her own sex.[2] In Emily’s own day, of course, _Wuthering Heights_ was the one novel published by the pseudonymous “Bells” whose feminine authorship critics longest refused to credit, and Moore’s chapter advancing the theory of Emily’s variance is very convincing. Adverse critics have attacked Moore’s soundness on the score of her misreading the title of a poem in the British Museum Brontë manuscript; however, all the Brontë handwriting is virtually illegible, and Moore was the first to study the document. In her zeal to consider all conceivable evidence for a man in Emily’s life, she read as “Louis Parensell” a title shown later to be inserted in Charlotte’s hand and deciphered as “Love’s Farewell,” but at least her exhaustive search for records of Mr. Parensell has reduced the likelihood of any subsequent scholar’s unearthing evidence of a lover. Surprisingly enough, Moore failed to capitalize on one important episode in Emily’s life—the girl’s reaction at fifteen to her first meeting with Charlotte’s bosom friend, Ellen Nussey. At the time of Ellen’s first house-visit to the Brontë’s she was, on the evidence of a surviving portrait, a bewitchingly pretty and very feminine young woman. Thus the adolescent Emily, who had had opportunity of meeting virtually no one outside her family, was thrown into contact with an older girl of great physical appeal and one patently capable of variant emotion. The house was small, and sleeping arrangements involved Emily’s sharing a bedroom with Charlotte and her guest. But Emily had sensibilities too delicate to intrude on bosom friends. While Charlotte and Ellen whispered far into the night, she bundled up and went and slept in the little cubby over the peat room with Tabby the servant.[3] One day Charlotte was ill and unable to entertain her guest.