This sentence concludes the book, to which Miss Stein originally gave the title _Quod Erat Demonstrandum_, the implied proposition being that such an emotional game could never be worth the candle. The current title, chosen by the editor, throws the emphasis upon Helen’s inability to be honest with herself or others, in contrast to Adele’s ruthless clarity. If Adele acted against her own middle-class convictions, it was at least without self-deception at any stage of the game. Mr. Wilson suggests that continued preoccupation with women, and her unwillingness to abandon herself again or to write openly about it, was responsible for the increasing obscurity of Miss Stein’s work and the lofty emotional detachment of her viewpoint.[20] * * * * * John Breckenridge Ellis’s _The Holland Wolves_, published late in 1902, was largely in the cape-and-sword tradition of the time, but he inserted a variant touch by making its central figure a transvestist and treating the emotional consequences seriously. Rosamunda, daughter of a Spanish leader in the war with the Netherlands, has been bred in a convent where flagellation was a common practice. When, at nineteen, she must choose between becoming a nun there or accompanying her father to the Low Countries, she elects the latter course. Disguised as her father’s squire, she engages in espionage and from expediency pays court to Anna, a Dutch girl in her teens. The latter falls deeply in love with her and abandons family and reputation to follow her. But Rosamunda’s fancy has been caught by an officer in the Dutch forces, to whom she confesses that she is a woman. When he pronounces Anna no better than a camp follower, Rosamunda challenges him to a duel, worsts him, and consequently is cured of her passion for him. Thereafter she becomes one of the most cruel of the inquisitionary soldiers.